November 2011 - Historians of Netherlandish Art

Transcription

historians of netherlandish art
NEWSLETTER
AND REVIEW OF BOOKS
Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750
November 2011
Vol. 28, No. 2
Niclaus Gerhaert von Leyden (ca. 1430-1473), Saint George, Strasbourg, 1462. Detail.
Walnut with original polychromy, height ca. 150 cm.
Evangelische Pfarrkirche St. Georg, Nördlingen.
Photo: Rühl & Bormann
Exhibition Liebighaus Skulpturensammlung, Frankfurt am Main
HNA Newsletter, Vol. 23, No. 2, November 2006
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23 S. Adelaide Avenue, Highland Park, NJ 08904
Telephone: (732) 937-8394
E-Mail: KBelkin@aol.com
www.hnanews.org
Historians of Netherlandish Art
Officers
President - Stephanie Dickey (2009–2013)
Bader Chair in Northern Baroque Art
Queen’s University
Kingston ON K7L 3N6
Canada
Vice-President - Amy Golahny (2009–2013)
Lycoming College
Williamsport, PA 17701
Treasurer - Rebecca Brienen
University of Miami
Art & Art History Department
PO Box 248106
Coral Gables FL 33124-2618
European Treasurer and Liaison - Fiona Healy
Seminarstrasse 7
D-55127 Mainz
Germany
Board Members
Dagmar Eichberger (2008–2012)
Wayne Franits (2009–2013)
Matt Kavaler (2008–2012)
Henry Luttikhuizen (2009 and 2010–2014)
Shelley Perlove (2008–2009 and 2010–2014)
Joaneath Spicer (2010–2014)
Anne Woollett (2008–2012)
Newsletter & Membership Secretary
Kristin Lohse Belkin
23 South Adelaide Avenue
Highland Park, New Jersey 08904
Layout by Marty Perzan - Network Typesetting, Inc.
HNA Newsletter
ISSN 1067-4284
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Contents
President's Message .............................................................. 1
Obituary ................................................................................. 2
HNA News ............................................................................ 3
Personalia ............................................................................... 3
Exhibitions ............................................................................ 4
Museum News ...................................................................... 7
Scholarly Activities
Future Conferences ............................................................... 8
Past Conferences ................................................................ 13
Conference Review ............................................................. 17
Opportunities....................................................................... 18
HNA Review of Books
15th Century .......................................................................... 21
16th Century ......................................................................... 22
17th-Century Flemish .......................................................... 29
17th-Century Dutch.............................................................. 36
New Titles ........................................................................... 39
Dissertations ....................................................................... 43
NEWSLETTER
From the President
Dear colleagues and friends,
Autumn leaves are falling and the holiday season is imminent as we send this Newsletter to press. Our members are
busy as ever, and there is much news to report.
Applications are accepted until December 1 each year. Please
see the notice below and on our website (under Opportunities)
for details of the 2012 competition.
You will shortly be receiving voting instructions for this
year’s elections for the Board of Directors. We are grateful to
Dagmar Eichberger, Matt Kavaler, and Anne Woollett for their
service as Board members over the past four years. Like the
Republican Party, we have a plethora of eager volunteers: the
ballot will list eleven candidates for three open Board positions. Please be sure to cast your electronic vote! As usual, the
winners will be announced and will take office at our members’
meeting in February.
The current issue of the HNA Review of Books contains a
rich array of book reviews, for which we thank both our reviewers and our field editors, all of whom have kindly volunteered their time and expertise. After nine years, Jacob Wisse
has retired as field editor for fourteenth- and fifteenth-century
topics to concentrate on other responsibilities. We are grateful
to Jacob for such long and valuable service. Henry Luttikhuizen
has stepped in as interim editor until a formal appointment can
be made at the spring Board of Directors meeting.
We have been honored this year with a generous gift from
the Paul and Anne van Buren Fund of the Maine Community
Foundation in support of our Fellowships for Scholarly Research, Publication and Travel. The donation comes in memory
of Anne Hagopian van Buren (1927-2008), a respected scholar
of medieval and early Netherlandish art and a founding member of HNA. Her husband, Rev. Paul van Buren, a noted theologian, died in 1998. For a tribute to Anne’s life and scholarship, please see the obituary written by Elizabeth Moodey for
the November 2008 issue of the HNA Newsletter (archived on
our website). Anne’s last important project resulted in a beautiful catalogue and exhibition at the Morgan Library in New
York, Illuminating Fashion: Dress in the Art of Medieval France
and the Low Countries. The show closed on September 4, 2011,
but the on-line version can still be seen at: www.themorgan.
org/collections/works/IlluminatingFashion/default.asp. This
donation secures the immediate future of our fellowship program, which has already provided subsidies for a variety of
important books and other scholarly projects by our members.
The annual conferences of our sister societies are enriched
this year by numerous sessions featuring chairs or speakers
who are HNA members. Among these, we are especially proud
that at the Sixteenth-Century Society in Fort Worth in October,
not one but two plenary lectures were given by HNA members:
Diane Wolfthal and current Board member Shelley Perlove. At
the College Art Association in Los Angeles in February, please
join us for the HNA-sponsored session chaired by Ann Jensen
Adams, and for our festive annual reception and members’
meeting, scheduled for Friday, Feb. 24, 5:30 to 7:00 in the Santa
Barbara Room of the Westin Hotel. And wherever you go to
speak, research, or network with colleagues, please spread the
word that HNA is always happy to welcome new members!
Met vriendelijke groeten
Stephanie
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In Memoriam
Adele S. Gilbert
(1939-2011)
Collector of seventeenth-century Dutch and Flemish
paintings, Adele Gilbert passed away on July 9 following a
struggle with cancer. With her husband of over fifty years,
Dr. Gordon Gilbert, she joined the Historians of Netherlandish Art at its founding. They began collecting Dutch
and Flemish seventeenth-century paintings after taking a
year-long course together in 1975 on her initiative. They
usually bought at auction, traveling to New York from their
home in St. Petersburg, Florida, to view the Old Master
sales. They regularly visited the annual European Fine Art
Fair in Maastricht, and also acquired key works from New
York dealers, including a very fine Hendrick de Clerck, Mars
and Venus, from fellow HNA member and supporter, Jack
Kilgore.
Working deliberately, and as a harmonious team, Adele
and Gordon patiently built a fine collection of paintings
hung densely in their shaded, waterside home. A large Mel-
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chior de Hondecoeter canvas of birds in the stairwell is the
first painting that greets visitors. The climax is the Hendrick
van Vliet, View of the Interior of the Nieuwe Kerk, Delft, from Beneath the Organ Loft at the Western Entrance (1662). Adele and
Gordon lent this great work to the Metropolitan Museum of
Art, New York, and the National Gallery, London, for Walter
Liedtke’s extraordinary exhibition, Vermeer and the Delft
School in 2001 (cat. no. 84). Adele and Gordon’s last addition
to the collection is a poignant double portrait of a man and
woman by Michiel van Mierevelt, bought at auction in January, 2011. The male sitter holds a tulip bulb in one hand and
a single tulip bloom in the other, implying both mutability
and resurrection.
Adele studied the field assiduously. She researched
possible purchases with great care, an enthusiasm her
neurologist husband valued highly, encouraged, and shared.
Yet Dutch and Flemish art was but one of her domains.
Educated at Simmons College, where she majored in biology, she became a biofeedback therapist, and, at the age of
55, took a Master’s degree in Mental Health Counseling. In
1996, she became a volunteer Mental Health Counselor at
Gulf Coast Jewish Family Services, giving regular workshops on the treatment of addictive disorders. She also used
her professional and personal skills as a facilitator at the
South Pinellas County Holocaust Survivor Support Group.
A quiet, even rather shy person, Adele was undemonstratively compassionate, and doubtless brought great comfort
to many people.
Adele was devoted to her family: her husband, their
daughters Benette and Stefanie, their son Benjamin, their six
grandchildren, and her brother, William Schwartz. This care
extended to those fortunate enough to experience her kindness as a hostess.
A sailboat long remained outside the Gilbert home on
Boca Ciega Bay, for she and Gordon enjoyed sailing together
in younger days. Perhaps that appreciation of the pleasures
– and perils – of the ocean in part prompted Adele’s awareness of her affinity with Dutch and Flemish culture. Whether or not this is the case, it is as a contributor to the common
enjoyment of Dutch and Flemish paintings through their
loans to museums – including the St. Petersburg Museum of
Art, where the Gilbert Collection is currently exhibited (see
below) – that HNA members have great reason to be grateful to Adele Gilbert.
Ivan Gaskell
Harvard University Art Museums
HNA News
HNA at CAA Los Angeles, February 22-25,
2012
Titled Affect and Agency: The Netherlandish Portrait (14001750), the HNA-sponsored session is chaired by Ann Jensen
Adams (UC Santa Barbara). For the program, see under Scholarly Activities: Future Conferences.
Following the HNA session, the business meeting and
reception will take place Friday, February 24, 5:30-7:00, at the
Westin Bonaventure Hotel, 404 South Figueroa Street, Santa
Barbara C room. A shuttle bus from the Convention Center
where the sessions take place will take you to the hotel.
for purposes such as travel to collections or research facilities,
purchase of photographs or reproduction rights, or subvention of a publication. Winners will be notified in February with
funds to be distributed by April 1. The application should
consist of: (1) a short description of project (1-2 pp); (2) budget;
(3) list of further funds applied/received for the same project;
and (4) current c.v. A selection from a recent publication may
be included but is not required. Pre-dissertation applicants
mustinclude a letter of recommendation from their advisor.
Applications should be sent, preferably via e-mail, by
December 1, 2011, to Amy Golahny, Vice-President, Historians
of Netherlandish Art. E-mail: golahny@lycoming.edu. Address:
608 West Hillside Ave, State College PA 16803.
Personalia
Book Review Editor
Jacob Wisse resigned from his position as 14th- and 15thcentury field book editor after serving nine years. Henry Luttikhuizen has been appointed by the president as the interim
editor until the board meeting at CAA in February 2012 when
the board will vote on the appointment.
JHNA
The Journal of Historians of Netherlandish Art (www.jhna.
org) announces the submission deadline for its summer 2012
issue.
Please consult the journal’s Submission Guidelines.
JHNA is an open-access, peer-reviewed journal published
twice per year. Articles focus on art produced in the Netherlands (north and south) during the early modern period (c.
1400-c.1750), and in other countries and later periods as they
relate to this earlier art. This includes studies of painting,
sculpture, graphic arts, tapestry, architecture, and decoration,
from the perspectives of art history, art conservation, museum
studies, historiography, technical studies, and collecting history.
Book and exhibition reviews, however, will continue to be
published in the HNA Newsletter.
The deadline for submission of articles for the spring/summer 2012 issue is March 1, 2012.
Alison M. Kettering, Editor-in-Chief
Molly Faries, Associate Editor
Jeffrey Chipps Smith, Associate Editor
Josua Bruyn, 1923-2011
Josua Bruyn, wo passed away on June 10, 2011, is
remembered above all as the co-founder, together with Jan
van Gelder, Bob Haak, Pieter van Thiel and Simon Levie,
of the Rembrandt Research Project. Bruyn’s participation
in it is well remembered and impacted our perception of
Rembrandt significantly since the inception of the Project in
1968. He brought together a group of art historians to study
ALL the paintings of Rembrandt. This was founded upon
his realization that verification of authorship on the basis of
visual evidence could be achieved only if those who participated were familiar with the same works of art and with all
the data that was gathered from their investigation.
The first time I visited the Institute of Fine Arts at Utrecht University, the door was opened by a student who was
a year older than me and whom I did not know: Joos Bruyn.
He went on to become Rector of Amsterdam University
and a dominant scholar known for his ability to organize
complex scholarly undertakings as well as to initiate valuable projects in the museum world. Joos was undoubtedly a
leader among the post-war generation of Dutch art historians. He participated in so many aspects of the field that he
was always visible: he was a university professor and one
of the most active members of many professional organizations, among them the Vereniging Rembrandt and the Prins
Bernhard Fonds.
The field owes a great debt to Joos Bruyn and his contributions will long be remembered.
Egbert Haverkamp-Begemann
Institute of Fine Arts, New York University
Donna Barnes is Professor Emerita at Hofstra University.
HNA Fellowship for Scholarly Research,
Publication or Travel: 2012-13
Marisa Bass, formerly of Harvard University, is Lecturer
and Mellon Postdoctoral Fellow at Columbia University.
Scholars of any nationality who have been HNA members
in good standing for at least two years are eligible to apply. The
topic of the research project must be within the field of Northern European art ca. 1400-1800. Up to $1,000 may be requested
Ivan Gaskell, Margaret S. Winthrop Curator, Harvard University Art Museums, has been appointed Professor of Cultural
History at the Bard Graduate Center in New York as of January
2012.
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Ann Sutherland Harris (University of Pittsburgh) is
among thirty women whose contribution to art history was
recognized by ArtTable, a national organization for professional
women in the visual arts.
Anne D. Hedeman, University of Illinois, Urbana-Champaign, has received a 2011 John Simon Guggenheim Memorial
Foundation Fellowship in medieval history.
Amy Powell (UC Irvine) has received an ACLS Fellowship for 2011. She will be researching a paper on “The Whitewashed Image: Iconoclasm and Seventeenth-Century Dutch
Landscape.“ She also was named Samuel H. Kress Senior Fellow for 2011-12 at the Center for Advanced Study in the Visual
Arts, National Gallery of Art, Washington.
Anke van Wagenberg has been appointed Curator at the
Academy Art Museum in Easton, MD, as of October 1, 2011.
Lisa Vergara is Professor Emerita of Art History at Hunter
College and the Graduate Center, CUNY.
Edward Wouk has been appointed Chester Dale Postdoctoral Fellow in the Department of Prints & Drawings at the
Metropolitan Museum of Art.
Exhibitions
United States and Canada
Story and Symbol: Dutch and Flemish Paintings from the
Collection of Dr. Gordon and Adele Gilbert. Museum of Fine
Arts, St. Petersburg (Florida), September 17 – December 4, 2011.
Areas of special interest: Mannerism (Cornelis van Haarlem,
Bloemaert, Hendrick de Clerck, Wtewael); Biblical subjects
(a.o. Master of the Female Halflengths, Herri met de Bles, Van
den Eeckhout, Adriaen van Stalbemt, Bramer, Houbraken,
Bloemaert); Church interiors (Hendrick van Vliet, Emanuel
de Witte); Portraits (Van Mierevelt, Moreelse, Maes, Hals);
Landscapes (Potter, Van Goyen, Aert van der Neer, Adriaen van
de Velde, Hondecoeter, Jan Both); Genre (Jan Steen, Dirck Hals,
Ochtervelt, Van Brekelenkam, Molenaer, Van de Venne); Still
Life (De Heem, Abraham van Beyeren); Mythology (Wtewael,
Ferdinand Bol, Cornelis van Haarlem, Hendrick de Clerck).
A Pioneering Collection: Master Drawings from the
Crocker Art Museum. Frances Lehman Loeb Art Center, Vassar
College, Poughkeepsie, September 16 – December 11, 2011.
Prints and the Pursuit of Knowledge in Early Modern
Europe. Harvard Art Museums, Cambridge, Mass., September
6 – December 11, 2011; Mary and Leigh Block Museum of Art,
Northwestern University, Evanston, January 17 – April 8, 2012.
Organized by Susan Dackerman. Catalogue with essays by Susan Dackerman, Claudia Swan, Katharine Park, Suzanne Karr
Schmidt and Lorainne Daston; see the review in this issue. For
the symposium, see under Scholarly Activities.
The Mourners: Medieval Tomb Sculptures from the
Court of Burgundy. Fine Arts Museum, Legion of Honor, San
Francisco, August 21, 2011 – January 1, 2012; Museum of Fine
Arts, Richmond, January 20 – April 15, 2012. Previously at the
Metropolitan Museum of Art, Dallas Museum of Art, Minneapolis Institute of Art, and LA County Museum, Los Angeles.
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The Invention of Glory: Afonso V and the Pastrana
Tapestries. National Gallery of Art, Washington DC, September
18, 2011 – January 8, 2012; Meadows Museum, Dallas, February
5 – May 13, 2012; San Diego Museum of Art, San Diego, June 10
– November 9, 2012; Indianapolis Museum of Art, Indianapolis,
October 5, 2012 – January 6, 2013.
Drawings by Rembrandt, His Students and Circle from
the Collection of Maida and George Abrams. Bruce Museum,
Greenwich, September 24, 2011 – January 8, 2012. With catalogue by Peter Sutton. A symposium took place October 1, 2011,
with Peter Schatborn, William Robinson, Gregory Rubinstein
and George Abrams.
Magnificent Vision: Two Centuries of European Masterworks from the Speed Art Museum. Philbrook Museum
of Art, Tulsa, OK, October 9, 2011 – January 8, 2012. Includes
Rubens and Rembrandt.
Caravaggio and His Followers in Rome. Kimbell Art
Museum, Fort Worth, October 16, 2011 – January 8, 2012. With
catalogue, to be reviewed. The exhibition opened at the National Gallery of Canada, Ottawa.
Rembrandt Paintings in America. North Carolina Museum of Art, Raleigh, November 1, 2011 – February 1, 2012;
Cleveland Museum of Art, Cleveland, February 19 – May 28,
2012; Minneapolis Institute of Arts, June 24 – September 2012.
Co-curated by Dennis Weller. With catalogue.
A Divine Light: Northern Renaissance Paintings from
the Bob Jones University Museum and Gallery. Frist Center
for the Visual Arts, Nashville, September 9, 2011 – February 5,
2012.
Rembrandt and Degas: Two Young Artists. Sterling and
Francine Clark Art Institute, Williamstown, November 13, 2011
– February 5, 2012. Previously at the Rijksmuseum, Amsterdam.
Rembrandt and the Face of Jesus. Detroit Institute of
Arts, November 20, 2011 – February 12, 2012. Curated by Lloyd
DeWitt, Blaise Ducos and George Keyes; with catalogue, to be
reviewed. Previously at the Louvre, Paris, and the Philadelphia
Museum of Art.
Golden: Dutch and Flemish Masterworks from the RoseMarie and Eljk van Otterloo Collection. Museum of Fine Arts,
Houston, November 13, 2011 – February 12, 2012. The exhibition opened at the Mauritshuis. With catalogue by Quentin
Buvelot, Zwolle: Waanders, ISBN 978-90-400-7744-9, euros 28.
Rembrandt’s World: Dutch Drawings from the Clement
C. Moore Collection. The Morgan Library & Museum, New
York, January 20 – April 29, 2012. With catalogue by Jane Shoaf
Turner.
Rembrandt Prints in the Morgan Library. Cleveland Museum of Art, February 19 – May 28, 2012.
Elegance and Refinement: The Still-Life Paintings of Willem van Aelst. Museum of Fine Arts, Houston, March 11 – May
28, 2012. The exhibition will go to the National Gallery of Art,
Washington. With catalogue by Tanya Paul, James Clifton, Julie
Berger Hochstrasser and Arthur Wheelock, Rizzoli, ISBN 978-08478-3821-9, $60.
Peter Paul Rubens: Impressions of a Master. The John
and Mable Ringling Museum of Art, Sarasota, February 16
– June 3, 2012. Prints after compositions by Rubens from the
Koninklijk Museum voor Schone Kunsten, Antwerp. For the
symposium on the Eucharist series, see under Scholarly Activities.
Diamonds in the Rough: Discoveries in the Bader Collection. Agnes Etherington Art Centre, Queen’s University,
Kingston, Ontario, June 18 – August 12, 2012. Curated by David
de Witt.
Face to Face: The African Presence in Renaissance
Europe. The Walters Art Museum, Baltimore, October 1, 2012 –
January 1, 2013. Curated by Joaneath Spicer.
Europe and Other Countries
Austria
Wintermärchen: Winter-Darstellungen in der europäischen Kunst von Bruegel bis Beuys. Kunsthistorisches
Museum, Vienna, October 18, 2011 – January 8, 2012.
Brueghel, Rubens, Jordaens. Masterpieces of European
Painting from the Hohenbuchau Collection. Liechtenstein
Museum, Vienna, May 27, 2011 – January 10, 2012. With publication by Peter Sutton, The Hohenbuchau Collection. Holländische
und Flämische Gemälde aus dem Goldenen Zeitalter. Vienna: Christian Brandstätter Verlag, ISBN 978-3-85033-571-3, euro 59.
Cornelis Cornelisz. van Haarlem: zwei hochkarätige
Leihgaben aus dem Rijksmuseum Amsterdam zu Gast im
Kunsthistorischen Museum. Kunsthistorisches Museum,
Vienna, June 15, 2009 – January 15, 2012. The Massacre of the
Innocents (1590) and Bathsheba at Her Bath (1594).
Kunstschätze des Mittelalters. Ferdinandeum, Innsbruck,
until January 15, 2012.
Kaiser Maximilian I. (1459-1519) und die Kunst seiner
Zeit. Albertina, Vienna, September 16, 2011 – January 29, 2012.
Belgium
Palazzo Rubens. The Master as Architect. Rubenshuis,
Antwerp, September 10 – December 11, 2011. With catalogue,
ISBN 978-90-6153-116-6, euro 35. To be reviewed.
A Rubens Drawing from the Burchard Collection for
the Royal Museums of Fine Arts. Royal Museums of Fine
Arts of Belgium, Brussels, September 29 – December 18, 2011.
A double-sided sheet with The Carrying of the Cross and Christ
Presented to the People (recto) and Hippodamia Seized by the Centaur Eurytus and Hercules and the Bull (verso). Shown together
with related works from the museum. With a flyer and shorter
notice. See also the article by Joost Vander Auwera and Stefaan
Hautekeete in The Rubenianum Quarterly 2011: 2. With a pamphlet by Sabine van Sprang.
Theodoor van Loon (ca. 1582-1649): Newly Restored
Paintings. Royal Museums of Fine Arts of Belgium, Brussels,
September 29 – December 18, 2011. With a publication by Irene
Baldriga, Sabine van Sprang, Jana Sanyova, Hélène Dubois,
Catherine Van Herck and Marie-Annelle Mouffe.
Van [A]lbast tot [Z]ink. Bruggemuseum-Gruuthuse, Bruges, December 20, 2007 – December 31, 2011. Tapestries, silver,
lace, ceramics from the museum’s collection.
Miniatures flamandes. Bibliothèque Royale de Belgique,
Brussels, September 30 – December 31, 2011; Bibliothèque
Nationale de France, Paris, March 27 – July 1, 2012. With catalogue by Bernard Bousmanne and Thierry Delcourt, Paris: BNF
Editions, ISBN 978-2-7177-2499-8, euro 49. For the symposium,
see under Past Conferences.
Regards sur le bleu. Turquoise, saphir, lapis et autres
minéraux bleus dans l’art et l’archéologie. Musée provincial
des Arts anciens du Namurois, Namur, September 90, 2011 –
January 15, 2012.
Van chirurgijns tot pestheiligen. Ziek zijn in Brugge in
de 16de en 17de eeuw. Memling in Sint-Jan – Hospitaalmuseum, Bruges, September 29, 2011 – February 26, 2012.
Meesterwerken in het MAS. Vijf eeuwen beeld in
Antwerpen. Museum aan de Stroom, Antwerp, May 17, 2011 –
December 30, 2012. In conjunction with the opening of the new
museum. Curated by Nico Van Hout.
Reunie: van Quinten Metsijs tot Peter Paul Rubens:
meesterwerken uit het Koninklijk Museum terug in de
Kathedraal. Onze-Lieve-Vrouwekathedraal, Antwerp, June 5,
2009 – January 1, 2013.
Jordaens en de antieken. Koninklijke Musea voor Schone
Kunsten van België, Brussels, October 12, 2012 – January 27,
2013; Fridericianum (Museumslandschaft Hessen), Kassel,
March 1 – June 16, 2013.
England
Vermeer‘s Women: Secrets and Silence. Fitzwilliam Museum, Cambridge, October 5, 2011 – January 15, 2012. Curated
by Betsy Wieseman; with catalogue.
Mantegna to Matisse: Master Drawings from the Courtauld Gallery. The Courtauld Gallery, London, June 14 – September 9, 2012; The Frick Collection, New York, October 2, 2012
– January 27, 2013. Organized by Colin Bailey, Peter Jay Sharp
and Stephanie Buck; with catalogue.
Estonia
Tracing Bosch & Bruegel: Four Paintings Magnified.
Kadrioru Kunstimuuseum, Eesti Kunstimuuseum, Talinn,
October 22, 2011 – March 15, 2012.
France
Daniel Sarrabat (1666-1748). Monastère royal de Brou,
Bourg-en-Bresse, September 24, 2011 – January 8, 2012.
Fascination baroque. La sculpture baroque flamande
dans les collections publiques françaises. Musée Département
de Flandre, Cassel, October 15, 2011 – January 29, 2012.
L’Âge d’Or hollandais. La collection Kremer. Pinacothèque de Paris, October 27, 2011 – March 25, 2012.
La baroque en Flandres: Rubens, Van Dyck, Jordaens.
Musée de la Chartreuse, Douai, February 24 – May 28, 2012.
The exhibition opened at the École Normale Supérieur des
Beaux-Arts, Paris. With catalogue by Emmanuelle Brugerolles
(Paris: ENSBA Editions, ISBN 978-2-84056-322-8, euros 22).
Previously at the Musée des Beaux-Arts, Rouen.
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Miniatures flamandes. Bibliothèque Nationale de France,
Paris, March 27 – July 1, 2012. The exhibition opened at the
Bibliothèque Royale de Belgique, Brussels (see above).
Germany
Schätze des Glaubens. Meisterwerke aus dem Dom-Museum Hildesheim und dem Kunstgewerbemuseum Berlin.
Bode-Museum, Berlin, until September 30, 2012.
Vom Dunkeln ins Licht. Alte Meister in der Sammlung
Würth. Johanniterhalle, Schwäbisch Hall, January 1, 2009 –
December 31, 2011.
Epochal: Meisterwerke des Herzog Anton Ulrich-Museums von der Antike bis zur Gegenwart. Herzog Anton UlrichMuseum, Braunschweig, July 12, 2009 – December 31, 2012.
Himmlischer Glanz. Raffael, Dürer und Grünewald
malen die Madonna. Gemäldegalerie Alte Meister, Dresden,
September 6, 2011 – January 8, 2012.
Brueghel: Paintings by Jan Brueghel the Elder in the Alte
Pinakothek. Alte Pinakothek, Munich, January 1 – April 30,
2013.
Meisterhaft. Von Cranach d.Ä. bis Kobell. Reiss-Engelhorn-Museum, Mannheim, until January 8, 2012.
In Augsburg erdacht, für Hildesheim gemacht. Exponate
aus dem Dom-Museum Hildesheim. Diözesanmuseum, Augsburg, until April 27, 2014.
Märkische Kunst. Bilderwelt des Mittelalters. Kutschstall
Am Neuen Markt, Potsdam, September 9, 2011 – January 8,
2012.
Riemenschneider im Chor. Das Bode-Museum Berlin zu
Gast. Johanniterhalle, Schwäbisch Hall, June 28, 2011 – January
8, 2012.
Dürer - Cranach - Holbein. Die Entdeckung des Menschen. Das deutsche Porträt um 1500. Kunsthalle der HypoKulturstiftung, Munich, September 16, 2011 – January 15, 2012.
With catalogue, Hirmer, ISBN 978-3-7774-3701-9, euro 40. Previously at the Kunsthistorisches Museum, Vienna.
Zeichnen im Zeitalter Bruegels. Niederländische Zeichnungen des 16. und 17. Jahrhunderts. Kupferstichkabinett,
Staatliche Kunstsammlungen Dresden, November 3, 2011 –
January 22, 2012.
Rembrandt gespiegelt. Meisterwerke der Radierkunst.
Suermondt-Ludwig-Museum, Aachen, November 12, 2011 –
February 5, 2012.
Die niederländische Savanne. Alte Meister – Neue
Kunst. Staatliches Museum, Schwerin, November 18, 2011 –
February 5, 2012.
Von Schönheit und Tod: Tierstillleben von der Renaissance bis zur Moderne. Staatliche Kunsthalle, Karlsruhe,
November 19, 2011 – February 19, 2012.
Lichtgefüge. Das Licht im Zeitalter von Rembrandt und
Vermeer. Gemäldegalerie Alte Meister Museumslandschaft
Hessen, Schloss Wilhelmshöhe, Kassel, November 18, 2011 –
February 26, 2012.
Niclaus Gerhaert. Der Bilhauer des Mittelalters. Liebighaus Skulpturensammlung, Frankfurt, October 27, 2011 –
March 4, 2012. With catalogue, Michael Imhof Verlag, euro 35.
Reise in die Bücherwelt. Herzogin Anna Amalia Bibliothek, Weimar, April 9, 2011 – March 11, 2012. With publication
ed. by Michael Knoche, Böhlau, ISBN 978-3-412-20692-5, euros
20.
Der Bloemaert Effekt: Farbe im Goldenen Zeitalter.
Staatliches Museum Schwerin, February 24 – May 28, 2012.
Previously at the Centraal Museum, Utrecht (see below). With
catalogue.
Eleganz und rauhe Sitten: Cornelis Bega (1631/32-1664).
Suermondt-Ludwig-Museum, Aachen, March 15 – June 10,
2012; Gemäldegalerie, Staatliche Museen Berlin, July 1 – October 2, 2012.
6
Der frühe Dürer. Germanisches Nationalmuseum, Nürnberg, May 24 – September 2, 2012. With catalogue.
Japan
Communication: Visualizing Human Connection in the
Age of Vermeer. Bunkamura Museum of Art, Tokyo, December
23, 2011 – March 14, 2012. The exhibition opened in Kyoto.
Paintings from the Maurishuis. Tokyo Teien Metropolitan Art Museum, Tokyo, July – mid-September 2012; City Art
Museum, Kobe, until January 2013. By 2014, after touring the
US, the works will be back for the opening of the renovated
Mauritshuis.
Latvia
Oriental Porcelain and the Netherlands: Interaction
between East and West in the 17th Century. The Art Museum
Riga Bourse, Riga, August 22 – December 4, 2011.
The Netherlands
Rubens, Van Dyck en Jordaens: Vlaamse schilders uit de
Hermitage. Hermitage Amsterdam, September 17 – December
1, 2011. With catalogue by N. Gritsaj, ISBN 978-90-78653-27-1,
euro 30.
Dali Meets Vermeer. Mauritshuis, The Hague, September
15 – December 11, 2011.
Dutch Girls: Holland’s Golden Top Models. Rijksmuseum, Amsterdam-Schiphol, September 7 – December 12, 2011.
Johan Maurits & Frans Post: Twee Nederlanders in Brazillë. Rijksmuseum, Amsterdam, September 20 – December 12,
2011.
Portretfabriek Van Mierevelt: ontdek de hand van de
meester. Stedelijk Museum Het Prinsenhof, Delft, September
24, 2011 – January 8, 2012. With catalogue by Anita Jansen, Rudi
Ekkart and Johanneke Verhave, Zwolle, Waanders. ISBN 97890-400-7824-8, euro 39.50
In het voetspoor van Rembrandt: Hollandse schilderkunst uit privé bezit. Museum Het Rembrandthuis, Amsterdam, October 1, 2011 – January 8, 2012.
Conversation Piece III: John Currin (1962) ontmoet Cornelis van Haarlem. Frans Hals Museum, Haarlem, October 7,
2011 – January 8, 2012.
Bartholomeus van der Helst: de verbeelding van de
macht. Amsterdam Museum, October 1, 2011 – January 22,
2012.
Rijk leven. Van Hogendorp, Van Rijckevorsel & de Rotterdamse elite. Museum Rotterdam, October 11, 2011 – January
29, 2012. The lifestyle and pomp of the 19th-century Rotterdam
elite is reconstructed in the Schielandhuis, the 17th-century city
palace, the main location of the Museum Rotterdam.
Het Bloemaert-effect: kleur en composite in de Gouden
Eeuw. Centraal Museum, Utrecht, November 11, 2011 – February 5, 2012; Staatliches Museum Schwerin, February 24 – May
28, 2012.
Schetsen van Schoonheid. museumgoudA/ Het Catharina Gasthuis, Gouda, November 23, 2011 – April 9, 2012. The
16th-century cartoons by Dirck Crabeth are shown alongside the
windows.
De Gouden Eeuw viert feest. Frans Hals Museum, Haarlem, November 11, 2011 – May 6, 2012. With catalogue by Anna
Tummers, Herman Roodenburg, Thijs Weststeijn et al., Rotterdam, NAI, ISBN 978-90-5662-835-2, euro 27.50
De weg naar Van Eyck. Museum Boijmans Van Beuningen,
Rotterdam, October 13, 2012 – January 13, 2013.
De Collectie Verrijkt: Peter Paul Rubens, St. Teresa of
Avila Interceding for Bernardino de Mendoza on Loan from
the Koninklijke Museum voor Schone Kunsten, Antwerp.
Museum Boijmans van Beuningen, Rotterdam, April 16, 2011 –
April 2013. This is part of the two-year program during which
the museum’s collection is enriched with masterpieces on loan
from collections in the Netherlands and abroad.
Paintings from the Mauritshuis. Gemeentemuseum, The
Hague, April 24, 2012 – 2014. Over 100 works from the Mauritshuis will go on display during the renovation of the museum,
including Vermeer’s View of Delft, Potter’s Bull, and Rembrandt’s Anatomy Lesson of Dr. Nicolaes Tulp. Other major works,
including Vermeer’s Girl with the Pearl Earring, will be on tour
(see under Japan).
Het portrait historié in de Nederlandse schilderkunst.
Dordrechts Museum, Dordrecht, January 1, 2013 – December
31, 2014.
Museum and Other Institutional News
Amsterdam: The Rembrandthuis Museum celebrated its
100th anniversary June 10, 2011. At the same time Rembrandt’s
rediscovered Portrait of Eleazar Swalmius (1637) was placed on
loan for seven years from the Koninklijk Museum voor Schone
Kunsten, Antwerp.
with a passionate interest in the art of the Low Countries. The
Rubenianum is preparing an online inventory of the collection.
Bruges: The Memling in Sint-Jan Hospitaalmuseum
acquired a drawing of the Coronation of the Virgin by Cornelis
Schut (1597-1655). It is a preparatory study for the painting
in the Potteriemuseum, convent. Drawing and painting were
shown together for the first time until August 7, 2011.
Flemendorf, Vorpommern: The Epitaph for Apolonia
Heinlein (d. 1513) with the Holy Kinship which had been lost
since the secularization of religious works at the beginning of
the 19th century, has been found in the town of Flemendorf in
Vorpommern, installed in the high altar from ca. 1730 of the
local church. The epitaph, most likely by a Dürer follower, was
painted for the Dominican church in Nuremberg. (B. Kunkel
and G. Weilandt, in: Kunstchronik, August 2011.)
Frankfurt: Despite intensive efforts, the Städel Museum
was not able to purchase Holbein’s famous Madonna of Burgermeister Jacob Meyer which had been on loan to the Städel since
2003. The owner of the work, the Erbengemeinschaft nach
Prince Ludwig von Hessen und bei Rhein, sold it to the German industrialist Reinhold Würth. It is hoped that it will be
exhibited in the Johanniterhalle of the collection Würth in
Schwäbisch Hall.
Ghent: In 2010, Van Eyck’s renowned Ghent Altarpiece was
subjected to an urgent conservation treatment within the Villa
Chapel in St. Bavo's Cathedral in Ghent. To enable this work,
the altarpiece was temporarily dismantled, which in turn made
it possible to undertake a technical documentation campaign,
funded by the Getty Foundation. This project generated a
wealth of high-definition digital images that will be integrally
placed on the internet, which will allow anyone to study these
paintings in microscopic magnification, and to peek under the
paint surfaces by means of Infrared reflectograms (IRRs) and
X-radiographs.
The first part of this project is now on line. Twenty IRR assemblies are available in full resolution for anyone to study and
download through a special preview website: http://vaneyck.
kikirpa.be. Through innovative use of web technology, the user
is enabled for the first time ever to study the underdrawings of
any two panels of the Ghent Altarpiece side by side.
The future, comprehensive web site is a collaborative
project of the Royal Institute for Cultural Heritage (KIK/IRPA),
Lukasweb, and the Vrije Universiteit Brussel, and is funded
through additional support from the Getty Foundation and
with support from the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO). This site will also be hosted by
KIK/IRPA and is scheduled to be on line by January 1, 2012.
The name of the Rubenianum has been changed to Centrum Rubenianum. The Centrum is best known for the editing
and publishing of the Corpus Rubenianum Ludwig Burchard.
Karlsruhe: The Staatliche Kunsthalle acquired Jan de
Bray's David and the Return of the Ark of the Covenant, 1670,
from the Earl of Wemyss. The painting had been on loan to the
Ferens Art Gallery in Hull which failed to raise the necessary
funds for its acquisition. The De Bray is the latest in a series of
sales by the Earl. Among Netherlandish works, Cornelis van
Haarlem's Saint Sebastian was sold to the Prince of Liechtenstein last year.
The Rubenianum acquired the rich documentation of
Pierre de Séjournet, mainly photographs and books on sixteenth- to eighteenth century Flemish and Dutch painting. It
is especially rich in the documentation of lesser-known artists.
Pierre de Séjournet de Rameignies (1933-2010) was a lawyer
Los Angeles: A half-length portrait of a man from the
estate of the late actress Elizabeth Taylor which for decades was
thought to be by an imitator of Frans Hals is now considered to
be by the master himself. The case was made by Ben Hall, head
of Christie’s Old Masters, New York.
Antwerp
7
Paris: The first international art fair dedicated to Old
Master paintings opened to the public November 4-8, 2011, at
the renowned Palais de la Bourse. The event was devised by
ten leading Parisian dealers who invited ten colleagues from
London, Amsterdam, Zurich, Rome, Madrid and New York.
The Hague
The Mauritshuis will be closed for major renovation starting April 2012. A travelling exhibition with over forty works
will go to Japan (including Vermeer’s Girl with a Pearl Earring),
followed by three locations in the United States (see under
Exhibitions). Over 100 works from the collection will go on
display at the Gemeentemuseum in The Hague, starting April
24, 2012, for a 2-year period. The paintings include Vermeer’s
View of Delft, Potter’s Bull, and Rembrandt’s Anatomy Lesson of
Dr. Nicolaes Tulp. The renovated museum will re-open in 2014.
The Mauritshuis has acquired Still Life of a Banquet in the
Making by Dirck de Bray (c. 1635-1694) from a private collection.
Two works from the Dutch National Art Collection were
returned to the heirs of their former owners. The first case concerns a fifteenth-century limewood Pietà which belonged to the
Dutch Jewish banker and collector Fritz Gutmann, the second
case concerns a bronze sculpture of Hercules of ca. 1610. The
Restitutions Committee recommended its return to the heirs
of Rosa and Jakob Oppenheimer. (From The Art Newspaper,
September 2011.)
The legal tug-of-war over Jan Steen’s The Marriage of Tobias
and Sarah (1668), which had been divided in half, has been
resolved. The left part, which had been bought by Jacques
Goudstikker, was acquired by Hermann Göring in 1940. After
the war, the picture went to the Dutch government. The right
part belongs to the Bredius Museum. In 1996 both halves were
physically united. An agreement was reached in August, with
Goudstikker’s daughter-in-law, Marei van Saher, receiving euro
1 million for relinquishing her rights to the left half. (From The
Art Newspaper, September 2011.)
Toledo (Ohio): The Toledo Museum of Art has acquired
the larger part of Frans Hals’s Family Portrait in a Landscape
(early 1620s). The painting had been in the Shropshire family of
Viscount Boyne, on loan to the National Museums and Galleries of Wales. The other and smaller part, Three Children with a
Goat Cart, is in the Royal Museum of Fine Arts in Brussels. It is
hoped that the two canvases can be reunited for a focus exhibition to be shown in Toledo and Brussels.
Zwolle: Art history publishers Waanders merged last year
with d’jonge Hond. From now on they will continue together
under the new name Wbooks (www.wbooks.com).
Scholarly Activities
Future Conferences
United States
Prints and the Pursuit of Knowledge in Early Modern
Europe
Arthur M. Sackler Museum, Harvard Art Museums, December 2-3, 2011. In conjunction with the exhibition of the same
title (see under Exhibitions).
Participants: James Clifton (Museum of Fine Arts, Houston), Lorraine Daston (Max Planck Institute for the History of
Science), Susan Dackerman (Harvard Art Museums), Christopher Heuer (Princeton), Joseph Koerner (Harvard), Sachiko
Kusukawa (Trinity College, Cambridge University), Dániel
Margócsy (Hunter College), Alexander Marr (University of
Southern California), Katharine Park (Harvard), Benjamin
Schmidt (University of Washington), Pamela H. Smith (Columbia), Claudia Swan (Northwestern).
Ab historia proprie figurativa: Visual Images as
Exegetical Instruments, 1400-1700
2012 Lovis Corinth Colloquium, Emory University, Atlanta, February 16-18, 2012.
Co-edited by Walter Melion and Michel Weemans, the
proceedings of the colloquium will appear in 2013 as a volume
in the series Intersections (Leiden: Brill).
Nathalie de Brézé, From Putti to Angels: The Celestial
Creatures in Otto Vaenius’ Paintings and Emblems.
Giovanni Careri, Typology at Its Limits: Visual Exegesis
and Eschatology in the Sistine Chapel.
Joseph Chorpenning, Lectio divina and Francis de Sales’s
Picturing of the Interconnection of Human and Divine Hearts.
Ralph Dekoninck, Multiscopic and Multilayered Images
as Agents of Visual Exegesis in the Antwerp Art of the Early
Seventeenth Century.
Maria Deiters, Illumination of Images and Illumination
through the Image: Functions and Concepts of Gospel Illustrations in the Bible of the Nuremberg Patrician Martin Pfinzing.
Dagmar Eichberger, Early Modern Rulers in the Light
of the Old Testament: The Case of François-Hercule de Valois
(1555-1584) and the Netherlands.
Reindert Falkenburg, The Geography of the Mind: Cave
Art and Hieronymus Bosch – a Connection?
Wim François, Typology – Back with a Vengeance! Text,
Images, and Marginal Glosses in Vorsterman’s 1534 Dutch
Bible.
Agnès Guiderdoni, Exegetical Immersion: Building Sanctified Space on the Occasion of François de Sales’s Canonization
(1665-1667).
Barbara Haeger, Rubens’ Christ Triumphant over Sin and
Death: Unveiling the Glory of God.
8
Ulrich Heinen, Explicatio – Explaining the Bible in Paintings. Rubens’ Title-Page for Balthasar Cordier’s Catena sexaginta
quinque Graecarum Patrum in S. Lucam.
Madeleine C. Viljoen (New York Public Library), The Airy
Imagery of Early Modern Ornament Prints.
Alexander Linke, Vasari and the ‘Transfiguration of
Christ’: Converging the Testaments and Connecting with
Predecessors.
Historicizing Somaesthetics: Body-Mind Connections in
the Medieval and Early Modern Viewer. Chair: Allie TerryFritsch (Bowling Green State University)
Walter Melion, From Jesuit Mariology to Inter-Confessional Christology: Visual Exegesis and the Mystery of the
Incarnation in Cornelis Cort’s Annunciation of 1571 and Jacob
Matham’s Nativity of 1588.
David S. Areford (U Mass, Boston), “Rush to the Embrace“: The “Maulbronn Altarpiece“ and the Corporeal Limits
of Vision.
Jürgen Müller, The Paradox as a Form of Image-Reflections on the Iconography of Pieter Bruegel the Elder.
Birgit Münch, Christ amidst Grotesque Emblematics: The
Salus generis humani of Aegidius Sadeler II after Joris Hoefnagel
and Hans von Aachen (1590).
Visual Culture and Mathematics in the Early Modern
Period, Part I. Chair: Ingrid Alexander-Skipnes (Independent
Scholar, Freiburg).
Colette Nativel, Painting and Devotion to the Wounds of
Christ in Early Modern Netherlandish Art.
Jessica Buskirk (Technische Universität, Dresden), Artful
Arithmetic: Barthel Beham’s “Rechner“ and the Dilemma of
Accuracy.
Shelley Perlove, ‘The glory of this last house shall become
greater than the first … (Haggai 2:9)’: Rembrandt, Christ, and
the Jerusalem Temple.
Caroline O. Fowler (Princeton University), ’A line is
produc’d by the motion of a Point’: Euclid’s Elements in the
Seventeenth Century.
Todd Richardson, Hemessen’s Hands.
Bret Rothstein, Empathy as a Type of Early Netherlandish
Visual Wit.
Tatiana Senkevitch, Seeing Dreaming: Philippe de Champaigne’s Images of Revelation.
Visual Culture and Mathematics in the Early Modern
Period, Part II. Chair: Ingrid Alexander-Skipnes (Independent
Scholar, Freiburg).
Larry Silver, Prince of War: Bruegel’s Old (and New) Testament Despots.
Matthew Landrus (Rhode Island School of Design), Mathematics and Proportion Theories among Artists/Engineers at
the Turn of the Sixteenth Century.
Caroline van Eck, Vividness is not the Aim, but the Key:
Enargeia in Rubens and Callistratus as Part of a Strategy of
Visual Exegesis.
Renzo Baldasso (Southern Illinois University), The Intellectual Dimensions of Perfect, Semiperfect, Toroidal Polyhedra
in the Renaissance.
Michel Weemans, Expanded Typology and the Book of
Nature: Herri met de Bles’ Landscape and Visual Exegesis.
Elliott Wise, Rogier van der Weyden and Jan van Ruusbroec: Reading, Rending, and Re-Fashioning the ‘Twice-Dyed’
Veil of Blood in the Prado Crucifixion.
CAA 100th Annual Conference
Los Angeles, February 22-25, 2012.
Sessions and papers of interest to or by HNA members:
Affect and Agency: The Netherlandish Portrait (1400-1750).
Chair: Ann Jensen Adams (UC Santa Barbara). HNA-sponsored
session.
Ricardo de Mambro Santos (Willamette University),
Facing North. Theory and Practice of Portraiture in Holland
around 1600.
Edward Wouk (Metropolitan Museum of Art), Display of
Faith: The Religious “Professional“ Portrait in the Netherlands
and the Question of Collective Identity in Troubled Times.
Feminism and Early Modern Art. Chair: Andrea Pearson
(American University)
Marisa Anne Bass (Columbia University), The Humanist
Portrait in the Early Sixteenth-Century Netherlands.
Sarah Joan Moran (University of Bern), The Word of God
on Women’s Shoulders? Pulpits in the Beguine Churches of the
Southern Low Countries, ca. 1650-1725
Sheila D. Muller (University of Utah), “A rather engaging gaucherie“: Gerrit van Honthorst’s portrait historié of King
Charles I and His Wife Queen Henrietta Maria as Apollo and
Diana.
Corine Schleif (Arizona State University), From Early Modern to Postmodern, from Female to Feminisms to Feminizing:
Where Do We Find Our Subjects and Ourselves after 100 Years
in the College Art Association?
Form and Function: Art and Design? Chair: Antonia Madeleine
Boström (J. Paul Getty Museum)
Annette LeZotte (Wichita State University), The Separation of Form and Function: Challenging the Historiography of
Renaissance Pilgrim Flasks.
John Loughman (Trinity College Dublin), The Cuyp Workshop and the Construction of Social Identity in Dordrecht.
Pictures in Place: Depicting Location and the Siting of
Representation in the Eighteenth Century. Chair: Craig
Ashley Hanson (Calvin College)
Dawn Odell (Lewis and Clark College), Place as a Thing:
Chinese Screens in Dutch Colonial Contexts.
9
“Res et significatio”: The Material Sense of Things in the
Middle Ages. Chair: Aden Kumler (University of Chicago) and
Christopher Lakey (Johns Hopkins University)
Amy Powell (UC Irvine), Kinks in the Fabric of Early
Netherlandish Painting.
Art and Architecture in Europe: 1600-1750. Chair: John
Beldon Scott (University of Iowa)
Simone Zurawski (De Paul University), Revealing the
Crossroads of Paris at the Cusp of the Revolution: The Works of
Henri-Louis Duhamel du Monceau at the Clos Saint-Lazare.
New Approaches to Post-Renaissance Florence, ca. 16001743. Chair: Eve Straussman-Pflanzer (Art Institute of Chicago)
and Eva Struhal (Université Laval)
Nina E. Serebrennikov (Davidson College), Manipulating
the Miniscule: the Case of Jacques Callot.
58th Annual Meeting of the Renaissance Society of
America
Washington DC, March 22-24, 2012. http://www.rsa.
org/?page=Washington2012
Sessions and papers of interest to HNA members:
Peter Paul Rubens I: Altarpieces and the Beholder.
Organizers: Barbara Haeger (Ohio State University, Columbus)
and Antien Knaap (Boston College)
Joost Vander Auwera (Royal Museums of Fine Arts, Brussels), Altarpieces for the Antwerp Church of the Shod Carmelites: Peter Paul Rubens and Abraham Janssen.
Barbara Haeger (as above), Rubens’s Michielsen Triptych:
Mystery, Ritual, and Seeing Beyond.
Antien Knaap (as above), Mechanizing Faith: Theatrical
Automata after Rubens’s Altarpieces of Ignatius of Loyola and
Francis Xavier.
Michelle Moseley-Christian (Virginia Polytechnic Institute), Humor in Seventeenth-Century Netherlandish GenrePortraiture: Adriaen Brouwer’s The Smokers as Case Study.
Saskia Beranek (University of Pittsburgh), The Built Image: Amalia von Solms and Early Modern Dutch Portraiture.
Mark Trowbridge (Marymount University), The Micturating Man and the Artist/Doctor. Reading Urine in Rogier van
der Weyden’s St. Luke Drawing the Virgin.
Early Modern Sculpture in Northern Europe. Organizer: Matt
Kavaler (University of Toronto)
Frits Scholten (Rijksmuseum, Amsterdam), Portable Collecting: On Prayer-Nuts and Other Micro Carvings from the
Netherlands, ca. 1500-1530.
Matt Kavaler (as above), Jean Mone and the Introduction
of the Antique Mode in the Netherlands.
Jeffrey Chipps Smith (University of Texas, Austin), Virtuosity, Ambition and Large Bronzes in South Germany around
1600.
Aleksandra Barbara Lipinska (University of Wroclaw),
Judas of Meissen versus Atillus Regulus: The Tomb of Moritz of
Saxony in Freiberg Cathedral.
Other Antiquities: Local Conceptions of the Past in
Northern European Art and Culture I. Organizers: Marisa
Ann Bass (Columbia) and Stephanie Porras (Columbia)
Eva Michel (Albertina, Vienna), The Triumphal Procession
for Emperor Maximilian I.
Franciszek Jan Skibinski (OGC Utrecht), The “Antique“
as Novelty and Tradition in Sixteenth-Century Sculpture of
East-Central Europe.
Erik Inglis (Oberlin College), Memory, Love, and Loss:
Old Objects in the Saint-Denis Inventory of 1534.
Peter Paul Rubens II: Art Theory and Biography. Organizers:
Barbara Haeger (Ohio State University, Columbus) and Antien
Knaap (Boston College)
Adam Samuel Eaker (Columbia), Rubens’s Fictive Portraits and the Northern Past.
Andreas Thielemann (Bibliotheca Hertziana, Rome), Stone
to Flesh: Rubens’s Treatise De Imitatione Statuarum.
Other Antiquities: Local Conceptions of the Past in
Northern European Art and Culture II. Organizers: Marisa
Ann Bass (Columbia) and Stephanie Porras (Columbia)
Eveliina Juntunen (University of Bamberg), Ut Pictura
Tragoedia? Rubens’s Adaptation of Literary Theory in His Battle
of the Amazons.
Fiona Healy (Mainz), Bellori and the Life of Rubens.
“Naar Dürer”: The Impact of Dürer’s Visit to Antwerp on
Sixteenth-Century Netherlandish Printmaking. Organizer:
Jessica Buskirk (Technical University Dresden)
Jürgen Müller (Technical University Dresden), Dirk Vellert’s Early Etchings.
Jessen Kelly (UC Berkeley), Lucas van Leyden’s “Nemesis.“
Bertram Kaschek (Technical University Dresden), Begging
for Grace? Transformation of the Peasant Motif in the Work of
Cornelis Massys.
10
Netherlandish Art. Organizer: Ann E. Moyer (University of
Pennsylvania)
Hanns Hubach (University of Zurich), Antiquity Made
from Wood: Revisiting the Theory of Carved Branchwork as
Reference to “Germanic Antiquity.“
Ashley West (Temple University), The Past in Print in
Nuremberg and Augsburg.
Susanna de Beer (University of Leiden), Visions of Rome
in the Latin and French Poetry of Joachim Du Bellay.
Thijs Weststeijn (University of Amsterdam), The Homeric
Origins of Art in the Low Countries.
Exposing the Male Nude in European Art, 1430-1640.
Organizer: Allison Stielau (Yale)
Tatiana C. String (University of North Carolina, Chapel
Hill), The “Power of Women“ and the Post-Coital Man.
Jennifer M. Sakai (UC Berkeley), The Erotic Infant Body?
Problematizing the Classical Nude in Rembrandt’s Ganymede.
Cultural Exchange and Transnational Encounter: Music,
Art, Patrons, II. Organizers: Ingrid Alexander-Skipnes
(Independent Scholar, Freiburg) and Janie Cole (Villa I Tatti,
The Harvard University Center for Italian Renaissance Studies,
Florence)
Molly Doran (Bowling Green State University), Cultural
Exchange at the Early Tudor Court: Henry VIII’s Recruitment
of Foreign Musicians.
Cultural Exchange and Transnational Encounter: Music,
Art, Patrons, III. Organizers: Ingrid Alexander-Skipnes
(Independent Scholar, Freiburg) and Janie Cole (Villa I Tatti,
The Harvard University Center for Italian Renaissance Studies,
Florence)
Elisa Goudriaan (Leiden University), Early Modern
Florence as a Centre of Cultural Exchange: Florentine Patricians
and Their Cross-Border-Networks.
Izabela Bogdan (Adam Mickiewicz University), Peripheral Centre or Central Periphery: Musical Life of Early Modern
Königsberg.
“Suave, mari magno:” Figures of Shipwreck in Early
Modernity. Organizers: Christopher Van Ginhoven (Trinity
College) and Katharina Piechocki (NYU)
Lawrence Goedde (University of Virginia), Dutch Images
of Shipwreck and the Art of Describing.
Peter Paul Rubens’s Triumph of the Eucharist Series
The John and Mable Ringling Museum, Sarasota, March
30-31, 2012.
Speakers: Arthur K. Wheelock, Jr. (National Gallery of Art,
Washington), Marjorie Wieseman (National Gallery, London),
Anne T. Woollett (J. Paul Getty Museum), Fiona Healy (independent scholar, Mainz), Koenraad Brosens (Katholieke
Universiteit Leuven), Ana García Sanz (Monasterio de las
Descalzas Reales, Patrimonio Nacional), Susan Merriam (Bard
College), Lisa Rosenthal (University of Illinois), and Virginia
Brilliant (John and Mable Ringling Museum).
Rembrandt van Rijn: Scholarship for the New
Century
Case Western Reserve University and Cleveland Museum
of Art, Cleveland, April 15, 2012. In conjunction with the exhibitions “Rembrandt Paintings in America“ and “Rembrandt
Prints in the Morgan Library,“ both at the Cleveland Museum,
February 19 – May 28, 2012.
Europe
De Goudse cartons geconserveerd: van ontwerp tot
gebrandschilderd glas
Christelijke Gereformeerde Kerk, Gouda, November 22,
2011.
The Notion of the Painter-Architect in Italy and the
Southern Low Countries
Rubenianum, Antwerp, December 2-3, 2011. In conjunction
with the exhibition “Palazzo Rubens. The Master as Architect”
at the Rubenshuis (see under Exhibitions). www.palazzorubens.
be/colloquium
Werner Oechslin (ETH Zürich), “Scientific/Architectural”
and/versus “Universal”: The Notion of disegno in a Changing
Context of Art and Architecture.
Sabine Frommel (EPHE Paris Sorbonne), Sebastiano Serlio
and the Italian Tradition of Architecture in Painting.
Howard Burns (Scuola Normale Superiore di Pisa),
Painter-Architects in Rome: Michelangelo, Raphael, Peruzzi.
Bruno Adorni (Univerità di Parma), Vignola, a Serious
Training: Painting, Perspective, Architecture.
Oliver Kik (KU Leuven), The Painter-Architect in the Low
Countries 1480-1530: The First Generation?
Krista De Jonge (KU Leuven), Pieter Coecke van Aelst,
Painter-Architect.
Edward H. Wouk (Metropolitan Museum of Art), “Les
emblèmes du véritable artist”: The House of Frans Floris de
Vriendt in Context.
Christopher Heuer (Princeton University), Design in Motion: The Netherlandish Painter-Architect as Traveller, Pilgrim,
and Exile.
Tine Meganck (Royal Museums of Fine Arts, Brussels),
Wensel Cobergher: Paintings of a Court Architect.
Gerd Blum (Kunstakademie Münster, Hochschule für Bildende Kunst), Giorgio Vasari and the Architecture of the Arts.
Barbara Uppenkamp (University of Hamburg), Vasari,
Rubens and the Question of Style in Architecture.
Stefano F. Musso (Università de Genova), Rubens and
Genoa: Paintings and Painted Architecture.
Stijn Alsteens (Metropolitan Museum of Art), “That rare
book in a large folio”. Remarks about the Production, Early
Reception and Significance of Rubens’s Palazzi di Genova.
Giulio Girondi (Politecnico du Milano), Frans Geffels,
Rubens and the Palazzi di Genova.
Ben Van Beneden (Rubenshuis, Antwerp), Rubens’s Antwerp palazzetto: Concept and Meaning.
Piet Lombaerde (Higher Institute of Architectural Sciences,
Antwerp), Rubens’s House: Light and Architectural Space.
Arnout Balis (Vrije Universiteit Brussel and Centrum Rubenianum), Rubens and His Theoretical Notebook.
11
Imprenta – Pintura – Impresiones Recíprocas. The
Influence of Flemish Print and Painting in Mexico
(XVI and XVII Centuries)
Rubenianum, Antwerp, December 5-6, 2011. Organized by
the Centrum voor Mexicaanse Studiën, University of Antwerp.
cms@ua.ac.be or www.ua.ac.be/cms
Werner Thomas (KU Leuven), Los Países Bajos y la Monarquía Hispánica (1500-1700)
Enrique González González (IIUE-UNAM), Del Caribe
a la Nueva España: la expansión transaltántica del imperio
español.
Stiijn Van Rossem (UA), From Antwerp to America: The
Verdussens and the Trade in Catholic Books (XVII Century).
César Manrique Figueroa (KU Leuven), Ediciones flamencas de amplia difusión entre círculos de lectores novohispanos
(siglos XVI-XVII).
Marina Garone Gravier (UNAM), Las imprentas plantinianas y antuerpianas de México y Puebla (siglos XVI-XVIII).
Valérie Herremans (KMSKA), Researching the Influence of
Southern Netherlandish Art on Painting in New Spain: A status
quaestionis.
Ad Stijnman (University of Amsterdam), The Development of Colour Intaglio Printing.
Sarah Lowengard (Cooper Union, New York), To the
Centre from the Periphery: Technological and Social Changes in
Colour-Printing Workshops.
Shelley Langdale, Nancy Ash and Beth Price (Philadelphia Museum of Art), Changing Spectrums: Analytical Challenges and New Technical Approaches in Examining 16th-Century
Italian Chiaroscuro Woodcuts.
Naoko Takahatake (LA County Museum of Art), Concept
and Intention: Colour in 16th- and Early 17th-Century Italian
Chiaroscuro Woodcuts.
Elizabeth Upper (Cambridge University), Blood in Books
and Wood Grains on Walls: Reconsidering the Functions of
Colour Woodcuts in Early Modern Germany.
Alice Klein (University of Strasbourg), Hans Wechtlin and
the Production of the German Chiaroscuro Woodcuts.
Arnout Balis (Rubenianum – VUB), A Case Study.
Anja Grebe (University of Bamberg), Dürer in ’clairobscur’: Early Modern Graphic Aesthetics and the Posthumous
Production of Colour Prints.
Nelly Sigaut (Colegio de Michoacán), [Title to be confirmed]
Edward Wouk (Metropolitan Museum of Art, New York),
The Flourish of Colour in Antwerp Printing ca. 1555.
Nico Van Hout (KMSKA), Prints from Antwerp as Sources
for Artists in New Spain.
Marjolein Leesberg (The New Hollstein), Hendrick
Goltzius’s Chiaroscuros Revisited.
Sandra Van Ginhoven (Duke University), Exports of Flemish Imagery to the New World: Guilliam Forchondt and His
Commercial Network in the Iberian Peninsula and New Spain
(1644-1678).
Virginie D’Haene (Groeningemuseum, Bruges), ’Met
gronden en hooghsels cluchtich’: On the Grounding and
Heightening of Prints and Drawings in the Sixteenth- and
Seventeenth-Century Netherlands.
Impressions of Colour: Rediscovering Colour in Early
Modern Printmaking, ca. 1400-1700
Joris van Grieken (Royal Library of Belgium, Brussels),
Intaglio Printing in Colour in 16th-Century Antwerp. The Case
of Hieronymus Cock.
Cambridge, December 8-9, 2011. http://www.crassh.cam.
ac.uk/events/1659/
Huigen Leeflang (Rijksmuseum, Amsterdam), Collecting
Hercules Segers’s ’Printed Paintings’.
Keynote: Peter Parshall (formerly National Gallery of Art,
Washington)
Alexander Dencher (Centre d’Histoire de l’Art de la Renaissance Paris I), Colour in Printmaking in Early 17th-Century
Paris.
Lieve Watteeuw and Jan Van der Stock (Illuminare –
Centre for the Study of Medieval Art, Katholiijke Universiteit,
Leuven), Stencilling as a Precursor to Colour Printing: The
’Brussels Madonna’ of 1418 Reconsidered.
Thomas Primeau (Baltimore Museum of Art), Stencil Colouring for the Mass Production of Coloured Prints.
Kathryn Rudy (University of St. Andrews), The Birgittines
of the Netherlands: Experimental Colourists.
Doris Oltrogge (Institute for Conservation Sciences, Cologne), Colour Printing in the Late 15th and the 16th Centuries:
Recipes and Analysis.
Mayumi Ikeda (Japan Society for the Promotion of
Sciences, Kaio University), Colour Matters: The Fust and
Schöffer Office and the Printing of the Two-Coloured Initials in
the 1457 Mainz Psalter.
12
Linda Stiber Morenus (Library of Congress), Chiaroscuro
Woodcut Printing in 16th-Century Italy: Technique in Relation
to Artistic Style.
Simon Turner (The New Hollstein), Exploring Colour
Prints in the Teyler Manner.
Marrigje Rikken (University of Leiden), A New Copy
Printed in Colour of Carel Allard’s ’Tooneel der voornaamste
Nederlandse huizen en lusthoven’: A Hypothesis Validated or
Falsified?
Erik Hinterding (Het Rembrandthuis, Amsterdam), The
Use of Colour in Rembrandt’s Prints.
Facts & Feelings: Documentary Evidence on
Emotions of Artists in the Early Modern Period, 16001800
Katholieke Universiteit Leuven, December 8-9, 2011.
Crosscurrents in Illustrated Religious Texts in the
North of Europe, 1500-1800
Utrecht, January 12-13, 2012.
http://emblems.let.uu.nl/crosscurrents
Questions of Ornaments (15th-18th Century). 3.
Three-Dimensional Art
IRPA-KIK Art History Seminar, no. 13, Brussels, February
16-17, 2012.
Huis ten Bosch: A Seventeenth-Century Dutch
Palace
Symposium in conjunction with the exhibition Golden:
Dutch and Flemish Masterworks from the Rose-Marie and Eijk van
Otterloo Collection, Peabody Essex Museum, Salem, May 20,
2011.
Konrad Ottenheym (Utrecht), The Architecture of Huis ten
Bosch.
Virginia Treanor (University of Maryland), Amalia von
Solms as Patron and Collector.
Dealer, Collector, Critic, Publisher …: The “animateur
d’art” and His/Her Multiple Roles
Arthur Wheelock (National Gallery of Art), Paintings in
the Oranjezaal.
Musées Royaux des Beaux-Arts de Belgique, Brussels,
autumn 2012. Under the direction of Ingrid Goddeeris and
Noémie Goldman.
Vanessa Bezemer Sellers, The Gardens of Frederik Hendrik and Amalia von Solms at Huis ten Bosch.
animateurdart@fine-arts-museum.be. A Call for Papers
went out on the HNA website in July 2011.
Past Conferences
Listed are only those conference papers that came to my attention
too late to be included in the section “Future Conferences” in the
printed version of the Newsletter (in most cases, however, they were
listed on the website). They are mentioned here to inform readers of
new developments in the field and of the scholarly activities of the
membership.
Thinking Netherlandish. A Workshop on Theory,
Methods and Practicalities
University of Zurich, Kunsthistorisches Institut, April 8,
2011.
Kathleen Christian (University of Pittsburgh), Maarten
van Heemskerck and the Art Patrons of Rome, circa 1532-1537.
Mateusz Kapustka (University of Zurich), Questions on
The Madonna and Child with a Carthusian Monk, an Unknown
Painting from the Circle of Gerard David.
Vera Koppenleitner (University of Bern), Katastrophenbilder. Der Stadtbrand von London in Darstellungen der niederländischen Schule.
Karina Corrigan (Peabody Essex Museum), Huis ten Bosch
Redux. 400 Years of Dutch Ties with Japan.
„Gott, der Schöne, liebt die Schönheit”. Postmoderne Blicke auf das Verhältnis zwischen Religion
und Kunst
Westfälische Wilhelms-Universität, Münster, June 2-5, 2011.
With a paper by Barbara Haeger (Ohio State University),
Seeing God in Oneself and in the World. Accessing the Divine
in Early Modern Painting.
Systems of Perception. Innovatory Concepts and
New Approaches to Netherlandish Art and Culture
ANKK (Arbeitskreis Niederländische Kunst- und Kulturgeschichte) Conference, Städel Museum and Goethe Universität, Frankfurt, September 30-October 2, 2011.
Keynote lectures:
Mieke Bal, Seeing History: In Praise of Anachronism, Folly
and Creative Research.
Krista De Jonge, Designing Architecture in the SixteenthCentury Low Countries. On a New Attribution and Its Implications.
Léonie Marquaille (University of Geneva, INHA Paris), La
question du pathos dans les peintures religieuses flamande et
hollandaise au XVIIe siècle.
Visualität und Theatralität in den Niederländischen
Bildkünsten (1400-1700)
Léonard Pouy (Université de Paris-Sorbonne, Université
de Genève, INHA Paris), Limites et contraintes de la monographie: le cas de Willem C. Duyster et des peintres de corps de
garde.
Christiane Kruse (Muthesius Kunsthochschule, Kiel),
Spielarten der Dis/simulatio – Maskeraden, Verstellung und
Täuschung.
Tabea Schindler (University of Zurich), Inszenierte Malerei. Der Aspekt der künstlerischen Virtuosität in holländischen
Darstellungen von Textilien und Textilhandwerk.
Edward H. Wouk (Metropolitan Museum of Art, formerly
University of Zurich), “It Was Greek to Me”: The Background
of Van Mander’s Life of Frans Floris.
Tanja Michalsky (UDK Berlin), Die Performanz sozialer
und religiöser Rituale bei Pieter Bruegel d.Ä.
Nina Cahill (Kunsthochschule Kassel), Die Bühne im Bild
als Visualisierungsprinzip.
Pablo Schneider (Humboldt Universität, Berlin), Die Polarität von Pathosformel und Affektkontrolle bei Rembrandt.
13
Bruchstellen im Sichtbaren. Wahrnehmungs- und
Darstellungsprobleme in der niederländischen Kunst
(1500-1800)
Ulrike Gehring (University of Trier), Der vermessene
Blick. Zur wissenschftlichen Evidenz militärkartographischer
Darstellungen um 1650.
Caroline O. Fowler (Princeton University), Surfaces of
Reflection: Karel van Mander on Rainbows, Skin, Hair, Air and
Cloth.
Ulrike Kern (Warburg Institute, London), Samuel van
Hoogstraten, René Descartes und der Regenbogen.
Karl Clausberg (University of Lüneburg), Saenredams
Platon-Höhle – Blendungsinstallation, Herzkammersuite oder
Hirnporträt?
Wege der Innovation: Künstlerreisen und Kunsttransfer
zwischen den Niederlanden und Deutschland im 16. und
17. Jahrhundert
Katharina Van Cauteren (Katholieke Universiteit Leuven),
Hendrick De Clerck and the Habsburg Canon: Artistic Relationships between the Netherlands and Central Europe from a
Courtly Perspective.
Sarvenaz Ayooghi (RWTH Aachen), Späher im Dienste
des Kaisers. Das Netzwerk der rudolfinischen Kunstagenten
um 1600.
Dagmar Eichberger (University of Trier/Artifex Projekt),
Der Historiograph und Kunstexperte Jean Lemaire de Belges
(1473-1515). – Ein Wanderer zwischen konkurrierenden Welten.
Aleksandra Lipinska (University of Wroclaw), Judas of
Meissen versus Atilus Regulus. Anthonis van Seron and His
Role in the Shaping of the Tomb of Elector Moritz of Saxony in
Feiberg Cathedral.
Meike Leyde (Museen der Stadt Bamberg), Die Museen
von Wim Quist (*1930) – Studien zum Bild der niederländischen Museumsarchitektur nach 1970.
Explorations in Early Modern Exhibition and Display
Practices. HNA-sponsored session
Bert van de Roemer (University of Amsterdam), Nature in
Order. Nature in Abundance.
Gero Seelig (Staatliches Museum Schwerin), The Collection Catalogue as a Change of Perception.
Nadia Baadj (University of Michigan, Ann Arbor), Painting (for) the Cabinet: Jan van Kessel’s The Four Parts of the
World in the Collection of an Antwerp Silversmith.
Eva Zhang (University of Heidelberg), Curiositas und
Civilité – Ostasien in fürstlichen Palästen und bürgerlichen
Stuben.
Workshops
Katrin Dyballa (Nationalgalerie Berlin), Werkprozesse
in niederländischen und deutschen Gemälden des 15. und 16.
Jahrhunderts.
Stefan Grohé, Anna Pawlak (University of Cologne), Romanismus revidiert. Autochthone bildliche Intelligenz und der
Kanon der niederländischen Malerei im 16. Jahrhundert.
Katrien Lichtert (University of Ghent), The Image of the
City: Methodological Approaches Concerning the Iconographical Study of the Urban Landscape.
Britta Bode (Staatliche Museen Berlin), Anne-Katrin Sors
(Kunstsammlung, University of Göttingen), Kunst auf Papier:
Neuere Forschungen zur niederländischen und deutschen
Druckgraphik und Zeichnung.
Sympathie und Antipathie. Ordnungen des Wissens und
der Künste im 16. und 17. Jahrhundert
Barbara Welzel (University of Dortmund), Orient in den
Niederlanden.
Ralph Dekoninck (Université Catholique de Louvain,
Louvain-la-Neuve), Van Veen’s Theory of Imagination Demonstrated and Applied in His Physicae et Theologicae Conclusiones
(1621).
Kathryn Brown (Tilburg University), Observation and Its
Limits: Re-Inventing Landscape in Contemporary Dutch Art.
Berit Wagner (Goethe Universität Frankfurt), ’Mikrokosmische Sinnlichkeit’ und die Transformation von Evidenz. Bildmagische Wirkungsästhetik im frühneuzeitlichen Antwerpen.
Marrigje Rikken (University of Leiden), Jan Brueghel’s
Allegory of Air (1621) in Natural Historical Perspective.
Barbara Baert (Katholieke Universiteit Leuven), Inigo
Bocken (University of Nijmegen), Visionen und Visualisierungen im 15. Jahrhundert: Van Eyck, Cusanus und Alberti.
Koenraad Jonckheere (University of Ghent), Omission
Iconography. The Perception of the Imperceptible.
Thijs Weststeijn (University of Amsterdam), Theories of
Chinese Art in the Netherlands.
The Elsloo Core Group. Research on the Master of
Elsloo in the Netherlands
Das Bild der niederländischen Architektur
Koninklijk Instituut voor het Kunstpatrimonium (KIK),
Brussels, October 20-21, 2011. www.kikirpa.be/uploads/files/
Program_ENG.pdf
Sascha Köhl (ETH Zurich), Konservativ, standardisiert
und ideenlos? Das Bild der gotischen Architektur in den Niederlanden.
14
versus ’Neue Sachlichkeit’ in der norddeutschen Architektur
um 1700.
Peter te Poel (Bonnefantenmuseum, Maastricht), De
wordingsgeschiedenis van een Meester.
Eveliina Juntunen (University of Bamberg), Die Antwerpener Liebfrauenkirche als Wahrzeichen der Kunst in Hans
Vredeman de Vries’ Liebesgarten für Rudolf II.
Gerard Venner (RHCL, Maastricht), De herkomst van de
Sint-Anna-te-Drieën in de parochiekerk te Elsloo. Een reconstructie van de geschiedenis van een referentiebeeld.
Simon Paulus (Fachhochschule Münster), “... wan Hollands niedlichkeit uns in die Augen leucht.“ – ’Niedlichkeit’
Arnold Truyen (SRAL, Maastricht), Technical Research on
a Few Sculptures by the Master of Elsloo.
Christina Ceulemans (KIK-IRPA), Introduction to KIKIRPA’s Research Project on the Master of Elsloo.
Christine Vanthillo (Agentschap Ruimte en Erfgoed, Hasselt), Monumentenzorg en het middeleeuwse beeldenpatrimonium in de Belgische kerken.
Famke Peters (KIK-IRPA), Art Historical Research.
Vincent Cattersel (KIK-IRPA), Study of the Materials and
Techniques.
Vincent Cattersel and Famke Peters (KIK-IRPA), Stylistic
Study of the Sculptures Attributed to the Master of Elsloo.
Marc Peez (LVR-Amt für Denkmalpflege im Rheinland,
Pulheim), The Late Gothic Sculptures and the Wooden Rood
Screen in the Church of St. John in Siersdorf (Germany). Technical Aspects and the History of Conservation Treatments.
HNA-related sessions and papers
Antiquarianism in the Sixteenth Century
Sarah Kozlowski (Yale University), The Natural, the
Manmade, and Illusion: Antique Cameos in the Paintings of Jan
Gossart.
Elizabeth Petcu (Princeton University), A Pyramid Chapel
in Segeberg: Heinrich Rantzau’s Monument to Frederick II of
Denmark.
An Abundance of Food
Alexandria Kotoch (University of Texas, Austin), Joachim
Beuckelaer’s The Four Elements: A Classical Theme with a Flemish Purpose.
Kim Woods (Open University, United Kingdom), Sculpture by the Master of Elsloo in England.
Collecting in Northern Europe
Lucretia Kargère (Metropolitan Museum of Art, New
York), The Metropolitan Museum’s Saint Roch: Materials and
Techniques.
Evelin Wetter (Abegg-Stiftung), Sumptuous Altarpiece or
Subtle Kunstkammerstück? An Embroidered Triptych from the
Early Sixteenth-Century Southern Netherlands.
Michel Lefftz (FUNDP, Namur), Influences de la Gueldre
et du Bas-Rhin sur la sculpture liégeoise de la fin du Moyen
Âge.
Kathleen M. Smith (University of Illinois), Representations of Book Collecting in Early Modern German Context:
Sophie von Hannover (1630-1714).
Vincent Cattersel (KIK-IRPA), The Results of the MaterialTechnical Research on Sculptures Attributed to the Master of
Elsloo.
Erin Downey (Temple University), Artists as Agents: Purveyors of Culture in Early Modern Europe.
Pascale Fraiture (KIK-IRPA), Dendrochronological
Research on the Sculptures by the ‘Master of Elsloo’ and His
Circle in Belgian Ownership.
Death and Dying in Early Protestantism
Ian Tyers (Dendrochronology Consultancy Ltd, Sheffield),
Sources of Wood; Clues to the Understanding of Timber Preparation, Trade, and the Production of Oak Panels and Sculptures
in Late Medieval Western Europe.
Vincent Cattersel (KIK-IRPA), De Christus uit Ellikom.
Een bijzondere casus.
Emmanuelle Mercier and Delphine Steyaert (KIK-IRPA),
The Virgin from the Church of Saint James in Liège and the
Polychromy of Sculptures in the Low Countries in the Time of
the Master of Elsloo: A Typological Approach.
Jana Sanyova (KIK-IRPA), Quelques remarques sur les matériaux trouvés dans la polychromie du Maître d’Elsloo.
Famke Peters (KIK-IRPA), Limburgse beelden onder handen genomen. Archiefdocumenten als bron voor de reconstructie van een stuk restauratiegeschiedenis.
Tarald Rasmussen (University of Oslo), Replacing the
Saints? The Image of the Lutheran Pastor in Epitaphs and Funeral Sermons from the Late 16th and Early 17th Centuries.
Marginalized Women and Early Modern Art
Andrea Pearson (American University), On Edge: Privileged Women Contend with the Margins.
Staging Salvation: Commemorative Monuments in Early
Modern Europe I
Barbara Haeger (Ohio State University), Two Epitaphs by
Rubens and the Tomb of Elizabeth Morgan.
Lynn Jacobs (University of Arkansas), The Ghent Altarpiece
and the Threshold to Salvation.
Jeffrey Chipps Smith (U Texas, Austin), Resurrecting with
Jesus: Variations on a Theme in German Tombs.
Michel Lefftz (FUNDP, Namur), Réflexions méthodologiques et contribution à la caractérisation morphologique des sculptures du groupe d’Elsloo.
Staging Salvation: Commemorative Monuments in Early
Modern Europe II
Sixteenth-Century Society Conference
Susan Maxwell (U Wisconsin, Oshkosh), A Memorial to
Ducal Humility: Wilhelm V and the Frauenkirche Monument to
Emperor Ludwig the Bavarian.
Dallas/Fort Worth, October 27-30, 2011.
Plenary lectures
Diane Wolfthal (Rice University), Towards a Visual History of Early Modern Workers: Images of Female Servants
Shelley Perlove (University of Michigan, Dearborn), Rembrandt’s staging of Biblical Narratives.
Sarah Joan Moran (University of Bern), ’Bidt voor de
Siele’: Beguine Epitaphs in the Counter-Reformation Low
Countries.
Eveliina Juntunen (University of Bamberg), The Sculptural Decoration of the Mons Choir Screen and the Iconography’s
Origin in Pauline Thoughts on Resurrection and Salvation.
15
‘Intentional Alterations’: Changing Works of Art in Later
Times and Other Technical Issues I
Alison Stewart (U Nebraska, Lincoln), Changing Bruegel:
Removing Clothing and Adding Height.
flamandes,“ Bibliothèque Royale de Belgique, Brussels, September 30 – December 31, 2011; Bibliothèque Nationale de France,
Paris, March 27 – July 1, 2012. A Call for Papers went out on the
HNA website.
Javier Bacariza and Luis Nieto (Rayxart Investigación,
Madrid), A Transformed Work by Gerard Seghers: Judith with
the Head of Holofernes.
Lieve Watteeuw (KU Leuven), Manuscript Research, Codicology and Conservation. Flemish Manuscripts Revealing New
Challenges.
Amy Morris (Southeastern Louisiana University), The
Sixteenth-Century Transformation of Moser’s Saint Magdalene
Altarpiece: Context and Motive.
Till-Holger Borchert (Groeningemuseum, Bruges), Imaging History – Imagining History: The Concept of the Past in
Miniatures for the Burgundian Court and Its Pictorial Traditions.
Times and Other Technical Issues II
Jeffrey Hamburger (Harvard), A Mass of St. Gregory by
the Master of the Houghton Miniatures: Tradition, Innovation
and Artistic Self-Consciousness in Fifteenth-Century Flemish
Manuscript Illumination.
Louisa Wood Ruby (Frick Art Reference Library), If Paintings Could Only Speak: Photoarchives as Aids to the Technical
Study of Works of Art.
Alexandra Onuf (University of Hartford), Altered States:
Joannes Galle’s Late Edition of the Small Landscape Prints.
Ronda Kasl (Indianapolis Museum of Art), The Mexican
Afterlife of a Roman Cult Image.
Alison Stones (University of Pittsburgh), Alexander, Arthur and Charlemagne: Tradition and Innovation in Flanders in
the Late Middle Ages.
Times and Other Technical Issues III
Janet van der Meulen (Vrije Universiteit Amsterdam), The
Illuminating Contents of Bodley 264: About a New Alexander
and the English Court in the Low Countries.
Claire Barry (Kimbell Art Museum), A Pair of Altarpiece
Wings by Albert Bouts Revealed.
Bart Devolder (Kimbell Art Museum), The Representation of Brocaded Silks in 15th- and 16th-Century Netherlandish
Paintings: Methods and Materials.
Maria LaBarge (Utah State University), Irrevocable Choice
in Bosch’s Ecce Homo.
Landscape and Spiritual Experience in the Netherlands
James Clifton (Sarah Campbell Blaffer Foundation), Landscape, Prayer and Mystical Theology.
Walter Melion (Emory University), ’Conspicitur prior
usque fulgor’: On the Functions of Landscape in Benito Arias
Montano’s Humanae salutis monumenta (1571).
Leopoldine Prosperetti (Towson University), Sea of
Leaves: Forest Landscapes by Gillis van Coninxloo and the Idea
of a Protestant Oracle.
Tablado: Wooden Architecture in the Habsburg Empire
(1550/1750)
Sabina de Cavi (Getty Research Institute), Tinglado and
Tablado: The Use and Taste for Impermament Construction
Throughout the Habsburg Empire (1500-1700).
Alejandra Osorio (Wellesley College), The Imperial Modern in the Spanish Habsburg World: Stone and the History of
Ruins/Wood and the Modern Future.
Maurizio Vesco (Università degli Studi di Palermo), Wood
as Prime Material for Habsburg Engineering in the Early Modern Era.
16
Catherine Reynolds (London), Stories without Words: The
Vocabulary of Loyset Liedet.
Mara Hofmann (University of London), Mis-en-page in
Manuscripts Containing Polyphonic Music: The Choirbook for
Philip the Fair and Juana of Castile of 1504/06 (KBR, MS 9126).
Anne-Margreet As-Vijvers (University of Amsterdam),
Re-Thinking Margins and Miniatures: Collaborative Practices
in Flemish Manuscript Painting around 1500.
Sara Lammens (Royal Library of Belgium), The Flemish
Miniatures Exhibition, an Introduction.
Gregory Clark (University of the South in Sewanee, Tennessee), The Books of Hours of the Wauquelin’s Alexander
Master.
Anne-Marie Legaré (Université Lille 3), Le Maître de
l’Évangéliaire de Tournai et ses collaborateurs.
Dominique Vanwijnsberghe and Erik Verroken (KIKIRPA), Jean Le Tavernier: une réévaluation de sa biographie et
de son oeuvre à la lumière d’un livre d’heures inédit.
Griet Steyaert (Royal Museums of Fine Arts of Belgium),
“Benois seront les misericordieux“, the Illumination of KBR
MS. 9296 Compared to Panel Paintings by the Master of the
View of Saint Gudule and the Master of the Legend of Saint
Barbara.
Lynn Jacobs (University of Arkansas), Dissolving Boundaries: The Thresholds of Netherlandish Triptychs and Flemish
Manuscript Illumination.
Anne Dubois (UCL), Marina Van Bos (KIK-IRPA), Lieve
Watteeuw (KU Leuven), Painting Techniques in the Grisailles.
From Jean le Tavernier to Willem Vrelant.
New Perspectives on Flemish Illumination
Nancy Turner (J. Paul Getty Museum), Of ’Flesh color well
made’: Techniques for Painting Flesh Tones in Fifteenth-Century Flemish Manuscript Illuminations.
Bibliothèque Royale de Belgique, Brussels, November
16-18, 2011. In conjunction with the exhibition “Miniatures
Elizabeth Morrison (J. Paul Getty Museum), Codicological
Puzzles and Artistic Interchange in Flanders.
Conference Review
The Arbeitskreis Niederländische Kunst- & Kulturgeschichte
(ANKK), which was founded in 2007, has successfully hosted
its first major conference. The three-day event, from September
30 – to October 2, 2011 (see program above) took place in Frankfurt, offering some 150 German and international participants
the difficult decision of choosing between six lecture sessions
and eight workshops, all of which addressed in differing ways
the overall theme of the conference: Ordnung des Sehens. Innovationsfelder der kunsthistorischen Niederlandeforschung (Systems
of Perception: Innovatory Concepts and New Approaches to
Netherlandish Art and Culture).
As in HNA’s own conference in Amsterdam in 2010, where
ANKK, as a sister organisation, was given the opportunity to
organize its own session within the program, ANKK reciprocated in Frankfurt by handing over a slot to HNA. The session, ‘Explorations in Early Modern Exhibition and Display
Practices’, was organized and chaired by Miya Tokumitsu
(University of Pennsylvania, Philadelphia), whose perceptive
selection of papers from the many proposals she received made
for a coherent and fascinating morning. The first talk by Bert
van de Roemer (University of Amsterdam) examined ‘Nature
in Order. Nature in Abundance’. He showed how the representation of natural objects in the late seventeenth century was
subjected to two different modes of display. One method is
found in illustrations which through the use of heavy shadows
and close-up views presents the object in a manner that is very
much ‘in the face of the viewer.’ Quite a different approach was
to opt for a rigidly ordered system: objects such as shells were
kept in drawers and arranged in beautiful decorative patterns,
while other specimens, such as those needing special forms of
preservation, were stored in glass jars, which were arranged according to size in cabinets. This inner symmetry was repeated
in the symmetrical arrangement of the cabinets according to
height and width within the collector’s space.
Gero Seelig (Staatliches Museum Schwerin), who chaired
the ANKK session in Amsterdam, presented a paper on ‘The
Collection Catalogue as a Change of Perception.’ This examined the significance of early printed catalogues of ducal collections, focusing in particular on Johann Gottfried Groth’s 1792
catalogue of the Schwerin collection. Groth worked on his own
initiative, and was dismayed to find that the duke, Christian
Ludwig, the founder of the collection, was not prepared to fund
the publication, which was to include engravings showing a
room-by-room hanging of the paintings. Groth therefore only
published the text, which, as Seelig showed, was nevertheless
much appreciated by visitors. Such ducal collection catalogues
also had an unexpectedly negative consequence because they
provided Dominique Vivant Denon, Napoleon’s ruthless art
‘collector’, with a handy guide to what was available for confiscation in Germany and consequently he only visited those
castles that had printed guides to the collection.
panel was sort of a “cabinet-without-drawers” and as such
would have had a particular significance for the silversmith
and collector Jan Gillis, probably the first owner of the series.
She suggested further that Van Kessel’s series was inextricably
linked to Gillis’s own collection through the array of objects
portrayed in the paintings.
The final paper, ‘Curiositas und Civilité – Ostasien in
fürstlichen Palästen und bürgerlichen Stuben), presented by
Eva Zhang (Ruprecht-Karl-Universität Heidelberg), examined
different aspects of European interest in eastern art, in particular from China. She examined the influence of illustrated books
such as Johannes Nieuhof’s publication of 1665, which detailed
the visit by members of the East-India Company to the Chinese
emperor; the ever-growing fashion for Chinoiserie, particularly
at the French court of Louis XIV, who drew parallels between
his own sovereign status, power and wealth and that of the
Chinese emperor, and commissioned a tapestries series showing the History of the Emperor of China. Zhang followed the
changing manner of display of Chinese and Japanese objects
and porcelain in princely collections, at the same time also
looking at how bourgeois society in the Netherlands satisfied
its longing for the exotic. Moreover, this was not just the prerogative of the male collector. Wealthy women assembled their
own collections in exquisite dolls houses, such as that owned
by Petronella Oortman (Amsterdam, Rijksmuseum) who commissioned miniature pieces of porcelain and lacquered furniture from China to furnish her doll’s house, spending enough
money on its decoration to have been able to purchase a real
house on one of the canals. The taste for the East went to such
an extreme that the wearing of kimonos became so widespread
that they had to be banned for church goers.
Krista de Jonge (KU Leuven) was one of the two keynote
speakers (the other being Mieke Bal), presenting a paper on
‘Designing Architecture in the Sixteenth-Century Low Countries. On a New Attribution and Its Implications.’ The topic
was, as her title suggests, the significance of new additions to
the oeuvre of the draughtsman who made the drawing for the
rood screen at Sainte-Waudru, Mons (1535).
The number of HNA members chairing sessions or workshops or giving papers is too numerous to mention them by
name. The excellent scholarly input, the superb organization
by the ANKK committee (Ursula Härting, Dagmar Eichberger)
and Jochen Sander (Städel Museum and Goethe Universität
Frankfurt), the beautiful location on the university campus and
the excellent weather all contributed to making the conference
a memorable occasion.
Fiona Healy, HNA Liaison
Mainz
The third paper, ‘Painting (for) the Cabinet: Jan van Kessel’s The Four Parts of the World in the Collection of an Antwerp
Silversmith’ was presented by Nadia Baadj (University of
Michigan, Ann Arbor). Looking at Van Kessel’s four paintings (Munich, Alte Pinakothek), each of which comprises an
elaborate ebony frame holding one large central panel and
sixteen surrounding smaller ones, all on copper, she related the
distinctive form and the use of costly materials to the luxurious ‘kunstkasten’ produced in Antwerp at that time. Thus each
17
Opportunities
Call for Papers
Conferences
Other topics of interest include the following:
Court Culture
Commercial culture, local and international
Netherlandish Culture of the Sixteenth Century
Iconoclasm
Centre for Reformation and Renaissance Studies, Victoria
University in the University of Toronto, October 19-20, 2012.
Erasmus, his Netherlandish circle, and his importance for
the Low Countries
Whereas much attention has been paid to the Burgundian
Low Countries of the fifteenth century and the so-called Golden
Age of the seventeenth, the culture of the Netherlands in the
century in between has long been neglected. Yet the past two
decades have witnessed significant research on Netherlandish
art, literature, and society of the sixteenth century. The period
was famously marked by the twin flashpoints of iconoclasm
and revolt, but it witnessed throughout a significant development in artistic, political, and literary culture. Among the issues
that might be examined are the following:
Representations of cities, city life, and urbanism in art and
literature
Low Countries society was first and foremost an urban
society. Urban identity manifested itself in rituals, chronicles,
literary texts, and images. We invite papers on the representations of cities and city life in literature and art with special
attention to the messages and ambiguities they contain and to
their complex relation to social reality.
Public ritual, civic religion and political culture
Recent studies on the Burgundian-Habsburg period have
developed the notion of a ‘theatre state’: political communication between court and subjects often took a very public and
ritualized form. The key example is that of the joyous entry.
Who took the initiative in the organisation of these civic rituals?
Who contributed intellectually and artistically?
The arts as a chief cultural product
The Low Countries continued to be one of Europe’s principal artistic regions in the sixteenth century, though now with
significantly greater communication and exchange with other
lands. Antwerp rose to an unparalleled position as a center
of both religious and secular painting and of prints. Haarlem
emerged with an important artistic culture at the century’s end.
Nor was success limited to the pictorial arts. Netherlandish
carved altarpieces offered new aids in religious devotion, while
classicizing tombs and epitaphs imprinted the presence of the
nobility on the communal space of church and chapel. We
welcome papers that examine the development of the arts and
architecture during this period.
The construction of religious identities
The Reformation had a huge impact on Low Countries
society, reaching the area early and spreading quickly. The
political turmoil that led to the Dutch Revolt only enhanced
this process. We invite papers on how religious identities were
constructed in the Low Countries, on the impact of different media (printing press, preachers, theatre, etc.), and on the
growing confessionalization that led eventually to a sharp
18
cultural divide between the Spanish Low Countries and the
Dutch Republic.
Media, communication, and the diffusion of knowledge
Netherlanders abroad: international relations and professional circuits
Humanism, education, and the diffusion of knowledge
Geography and travel
Antiquity and its resonances
Those interested in participating should send an abstract
of 150 words and a cv (maximum one page) to Ethan Matt Kavaler (matt.kavaler@utoronto.ca) and Anne-Laure Van Bruaene
(AnneLaure.VanBruaene@UGent.be) by November 29, 2011.
Artistic Responses to Watershed Eras
16th Biennial International Conference on Netherlandic
Studies (ICNS), Calvin College, Grand Rapids, MI, June 7-9,
2012.
Culture critics largely agree that the death of Harry
Mulisch (2010) has closed the chapter of a literary era largely
dominated by the World War II generation. Taking inspiration from this notion of epochal shifts, this conference aims to
explore the ways that art and history respond to such turning
points of human culture. Conference participants are invited
to address, in specific ways, the overarching question of how
Netherlandic (or Afrikaner) visual, linguistic, and/or literary
culture have responded to major moments of transition.
Topics of individual sessions might include: History: EarlyModern, 19th- & 20th-Century Literature, 16th-Century Art &
Literature, Colonialism, Early-Modern Literature, 20th-Century
History, Early-Modern Art History, 17th-Century Art, Afrikaans, Linguistics, 20th-Century Film, 19th- & 20th-Century
Literature, and Local Dutch-American History.
You are invited to submit an abstract of a paper from your
own field, as seen through the prism of the conference theme,
“Artistic Responses to Watershed Eras.” Paper proposals on
other topics or themes are also most welcome – an ICNS tradition. Select papers may be included in a conference publication to follow. Graduate students are especially encouraged to
participate.
Please submit abstracts of 250 words, (accompanied by
curriculum vitae) to seminars@calvin.edu with “ICNS Abstract” in the subject line by December 15, 2011. Acceptance
notification will be given by February 1, 2012.
Registration begins February 1, 2012. Logistics/hotel information will be available at www.calvin.edu/scs by January 15,
2012. Cost for the conference will be $135 for general registration and $100 for student registration.
AANS membership is required in order to attend the conference (the fees are $40 for standard membership; $25.00 for
full-time graduate students; $25.00 for emeriti/retired).
Conference Coordinators: Herman De Vries, Professor of
Germanic Languages, Calvin College; Henry Luttikhuizen,
Professor of Art History, Calvin College.
Call for Articles
Journals
Journal of Historians of Netherlandish Art (JHNA)
The Journal of Historians of Netherlandish Art (www.jhna.
org) announces the submission deadline for its summer 2012
issue.
Please consult the journal’s Submission Guidelines.
JHNA is an open-access, peer-reviewed journal published
twice per year. Articles focus on art produced in the Netherlands (north and south) during the early modern period (c.
1400-c.1750), and in other countries and later periods as they
relate to this earlier art. This includes studies of painting,
sculpture, graphic arts, tapestry, architecture, and decoration,
from the perspectives of art history, art conservation, museum
studies, historiography, technical studies, and collecting history.
Book and exhibition reviews, however, will continue to be
published in the HNA Newsletter.
The deadline for submission of articles for the summer
2012 issue is March 1, 2012.
Alison M. Kettering, Editor-in-Chief
Molly Faries, Associate Editor
Jeffrey Chipps Smith, Associate Editor
Research in Progress
Early Modern Architecture
Early Modern Architecture (http://earlymodernarchitecture.com) is a new initiative that explores global, interdisciplinary frameworks for the architecture (design, theory, and
practice) of Europe and its colonies, 1400-1800. We are particularly interested in fostering discussion about innovative issues,
areas of inquiry, and approaches across both research and
education. A major component of this initiative, therefore, will
be encouraging a rigorous network of exchange among scholars
and professionals.
As a step toward this exchange, we are now compiling two
international lists: one of research projects in progress and one
of Ph.D. dissertations -- both from any discipline and on any
aspect of this field. We will post these lists on our website once
we have gathered a substantial number of entries. The lists, we
hope, will become an ongoing means for scholars to learn about
up and coming research as well as to locate others who share
their geographical and/or methodological concerns.
If you have a research project in progress or are writing
a dissertation that is in progress or was completed during the
2010-2011 school year, please email us at emailistserv@gmail.
com with the author’s (and supervisor’s) name, the working
title, and the names of your department as well as institution.
We will then add your information to our lists. We appreciate your contribution to this component of the Early Modern
Architecture initiative.
Freek Schmidt (Associate Professor, Faculty of Arts, Vrije
Universiteit Amsterdam); Kimberley Skelton (independent
scholar)
Artists on the Move. Sculptors from the Low
Countries in Europe 1450-1650
The Low Countries are by no means generally considered
to be the motherland of sculpture. However, at close sight it can
be noticed that Early Modern sculptors from the Northern and
Southern Netherlands contributed considerably to the development of European sculpture, especially in the period between
1550 and 1650. The most important works, though, are to be
found outside the Low Countries, which seems to be one of the
reasons why they have seldom attracted scholarly attention
so far. The marked mobility of Netherlandish sculptors of the
16th and 17th centuries was one of the most important reasons
for their success and their impact on the artistic development
of their time. Most of them travelled far from their homelands
and worked in various countries and regions from Sweden to
Spain, and from England to nowadays Ukraine. And of course,
a large number of these sculptors visited Rome, the Mekka of
sculpture study in the Early Modern Era.
The diaspora of Netherlandish sculptors in the mentioned time span has not yet been systematically explored. The
research project is about to dedicate itself to this challenge. As
a starting point of further investigation we envisage to set up
a database, the aim of which will be to collect and systematise
biographical, geographical and chronological data of the migrating sculptors. For this purpose the documentation system
of the Rijksbureau voor Kunsthistorische Documentatie (RKD)
in The Hague will be employed and adjusted to the specific
needs of the project with the help of experts at the University
of Wroclaw. This kind of documentation will be instrumental
in the cognition and analysis of structures and patterns within
artist’s migration and careers and could result in a ‘collective
biography’. It is expected that by taking the perspective of the
artist’s mobility as a starting point a new light could be thrown
on the stylistic development of European sculpture and a new
chapter could be added to the historiography of artistic relations between the Low Countries and the rest of Europe.
If you are interested in the project please do not hesitate to
contact one of the persons below.
In Amsterdam: Arjan de Koomen (Universiteit van Amsterdam) A.R.deKoomen@uva.nl
Frits Scholten (Rijksmuseum Amsterdam)
f.scholten@rijksmuseum.nl
In Bamberg: Eveliina Juntunen (Universität Bamberg)
eveliina.juntunen@uni-bamberg.de
In Wroclaw: Aleksandra Lipinska (Uniwersytet Wroclawski) aleksandra.lipinska@o2.pl
19
Fellowships and Prizes
Courses
HNA Fellowship for Scholarly Research, Publication
or Travel: 2012-13
Netherlandish Art and Architecture in an
International Perspective
Scholars of any nationality who have been HNA members
in good standing for at least two years are eligible to apply. The
topic of the research project must be within the field of Northern European art ca. 1400-1800. Up to $1,000 may be requested
for purposes such as travel to collections or research facilities,
purchase of photographs or reproduction rights, or subvention of a publication. Winners will be notified in February with
funds to be distributed by April 1. The application should
consist of: (1) a short description of project (1-2 pp); (2) budget;
(3) list of further funds applied/received for the same project;
and (4) current c.v. A selection from a recent publication may
be included but is not required. Pre-dissertation applicants
mustinclude a letter of recommendation from their advisor.
In September 2012, Radboud University Nijmegen
(Netherlands) starts a new Master’s specialization in Netherlandish Art and Architecture in an International Perspective.
This comprehensive, one-year program explores the history
of painting and sculpture, architecture and the decorative arts
of the Netherlands from the Late Middle Ages to the present.
Taught in English, it gives students from different countries the
opportunity to specialize in one of the most fascinating fields in
art history.
Applications should be sent, preferably via e-mail, by
December 1, 2011, to Amy Golahny, Vice-President, Historians
of Netherlandish Art. E-mail: golahny@lycoming.edu. Address:
608 West Hillside Ave, State College PA 16803.
Dr. Alfred and Isabel Bader Prize
Thanks to a gift from Dr. Alfred Bader we would like to announce the institution of an annual prize of euros 1,000 for the
bes toriginal contribution on European art prior to 1950 written
by an art historian younger than 35 at the time of submission.
Entires for the firs tprize, with a maximum length of 20,000
words (including notes), may be submitted in English, Dutch,
French or German, and must reach the editors odf Simiolus
before January 1, 2012. The editors will decide on the winning
entry before March 31, 2012, will bear the costs of translation if
necessary, and publish the article in Simiolus within a year.
http://www.simiolus.nl
20
Prospective students will need a Bachelor’s degree in
Art History or Cultural Studies, or at least 45 EC points (or
equivalent) in art history courses. In all other cases, portfolio
and motivation will determine whether the candidate meets
the programme requirements. In addition, students will need
adequate English language skills.
For more information, visit our website www.ru.nl/masters/naa, or contact us at Radboud University’s Student Information Desk (T: +31 (0)24 361 2345; E: sid@dsz.ru.nl).
Review of Books
General editor: Kristin Lohse Belkin
Area editors: Fourteenth and Fifteenth Centuries: Henry Luttikhuizen; Sixteenth Century: Larry Silver; Seventeenth-Century
Flemish: Fiona Healy; Seventeenth-Century Dutch: Frima Fox
Hofrichter; German Art: Larry Silver
Fifteenth Century
Margaret L. Koster, Hugo van der Goes and the Procedures of Art and Salvation (Harvey Miller Studies in
Medieval and Early Renaissance Art History, 49). Turnhout: Brepols Publishers, 2008. 178 pp, 42 b&w and 95
color illus. ISBN 978-1-905375-15-8.
Scholarly attention to Hugo van der Goes has increased
in recent years, and the present book, a revised and expanded
version of the author’s 1999 doctoral dissertation written at
Columbia University, makes an important contribution to the
literature on the artist. Koster’s subject is Hugo’s great Portinari
Altarpiece in Florence; her aim, as she states, is to “consider
every facet” of the triptych. The book discusses the patronage of the altarpiece, its complex imagery, its relationship to
the Devotio Moderna, and its Florentine context, all issues that
previous scholars have addressed at length. Two avenues of
Koster’s research, however, break exciting new ground. She
has discovered the Portinari archive housed in the Archivio di
Stato in Florence, which preserves the final will of the triptych’s
patron, Tommaso Portinari. While the will does not mention
the altarpiece, installed years earlier, in 1483, on the high altar
at Sant’ Egidio in the Maria Nuova Hospital complex in Florence, Koster interprets the documents to challenge the longheld belief that Tommaso died in financial ruin, arguing that
he was buried in front of the triptych in his family’s chapel.
Furthermore, and most interesting for our understanding of
Hugo, Koster conducted a technical study of the altarpiece
which offers fascinating insights into the triptych’s evolution.
Highlights of the findings as well an analysis of Tommaso’s will
were published earlier in The Burlington Magazine (“New Documentation for the Portinari Altar-piece,” 2003, vol. 145, pp. 164179). The book is accompanied by a CD-Rom which provides
color photographs, infrared reflectography and x-radiographs.
After the completion of her dissertation, Koster commissioned x-rays and infra-red-reflectography (IRR) of the triptych
from Maurizio Seracini and his staff at Editech in Florence, a
project supported by the Samuel H. Kress Foundation. The IRR
scans reveal extensive underdrawings which show that Hugo
made fundamental compositional changes as he worked on the
altarpiece. For instance, the Christ Child, now lying parallel to
the sheaf of grain in the foreground in a powerful Eucharistic
reference, was initially placed at an acute angle to the grain.
The IRR scans help identify significant motifs that had previously gone unnoticed, such as Saint Margaret’s shoe resting in
the shadowy mouth of the dragon, and an open wooden gate
placed between the kneeling Tommaso and the sacred scene
in the central panel, comparable to the opened door in the left
wing of the Master of Flémalle’s Merode Altarpiece (for Lynn
Jacobs’s description of this object as a door and her view of
it, similar to Koster’s, as a threshold between the earthly and
heavenly realms, see her article, “The Miraculous Threshold in
Hugo van der Goes’s Portinari Altarpiece,” Tributes in Honor of
James H. Marrow: Studies in Painting and Manuscript Illumination
of the Late Middle Ages and Northern Renaissance, ed. Jeffrey F.
Hamburger and Anne S. Korteweg, Turnhout, 2006, pp. 261270).
The author identifies several stages of underdrawing in the
altarpiece, which she analyzes to explain some of the tripych’s
most unusual features, such as the reversed placement of the
female saints in the right panel, and the shifts in scale between
the donors and their patron saints. In the first stage of underdrawing, there were no children; in the second stage, Hugo
added all three, a fact which explains why Saint Margaret
stands with Maria Portinari while Mary Magdalene appears
with the young daughter Margherita instead of the other way
around. Initially, Koster argues, both saints served only as
Maria Portinari’s patrons; when Hugo added the daughter in a
later stage he did not revise the positions of the saints. Koster
likewise suggests that the change in scale between the patrons
and the saints has to do with Hugo’s adjustments of the figures
to the painted head of Tommaso Portinari, which was executed
independently on a separate support and applied to the panel.
She further observes that the Annunciation on the closed shutters employs a more detailed, even underdrawing, suggesting
that Hugo had assistance in executing these panels, although
the artist himself certainly designed them. In this chapter,
which reconstructs Hugo’s working process with great insight,
Koster makes an impressive contribution to our understanding of fifteenth-century Netherlandish painting, shedding new
light on an already well-studied triptych and providing new
data for further research. Her work joins other important technical examinations of Hugo’s paintings (see Rainald Grosshans,
“IRR-investigation of the panel paintings by Hugo van der
Goes in the Berlin Gemäldegalerie,” in: Jérôme Bosch et son entourage et autres études; Colloque pour l’étude du dessin sous-jacent
dans la peinture, Colloque XIV, 2001, Louvain, Dudley, MA, 2003,
pp. 235-249).
Other chapters place the Portinari Altarpiece in various contexts, such as the ideals of the Devotio Moderna. While Koster’s
focus is on the Portinari Altarpiece, several scholars including
Diane Wolfthal, Bernhard Ridderbos, and Susan Koslow have
already linked the principles of this religious movement to
Hugo’s works, particularly his canvas paintings, the Monforte
21
Altarpiece, and the Death of the Virgin. The Portinari family’s
interest in the Devotio Moderna, however, remains unknown.
In another chapter the author reviews in detail the triptych’s
complex imagery, adding her own interpretations and disagreeing with some previous views, for instance with M. B. McNamee’s generally accepted identification of the Christ Child as
the officiating priest. She convincingly suggests that the devil’s
rare – and barely visible – appearance in a Netherlandish
Nativity scene juxtaposes Christ’s healing humility with Satan’s
sinful pride. Generally, she argues against the idea that Hugo’s
famously troubled emotional states directed his choice of visual
imagery.
Koster further examines the critical reception of the altarpiece, the life of Tommaso Portinari, the history of the church of
Sant’ Egidio, and aspects of contemporary Florentine devotion,
including the career of Fra Angelico, which presents general
parallels to that of Hugo. Three appendices present the documents, the Uffizi restoration record, and a section on artistic
responses to the Portinari Altarpiece in the North (to which we
might add the heart-shaped placement of the Virgin’s hands in
Geertgen tot Sint Jans’ Night Nativity in London).
However, questions still remain. We do not know, for
instance, the precise date of the execution of the altarpiece, and
some of its imagery continues to elude us. Koster’s work will
undoubtedly open new avenues of debate and inquiry about
this beautiful and compelling work by one of the greatest artists of Northern European painting.
Ellen Konowitz
SUNY at New Paltz
Sixteenth Century
Susan Dackerman, ed., Prints and the Pursuit of
Knowedge in Early Modern Europe. [Cat. exh. Harvard
Art Museums, Cambridge, MA, September 6 –December 11, 2011; Mary and Leigh Block Museum of Art,
Northwestern University, Evanston, IL, January 17 –
April 8, 2012.] Cambridge, MA: Harvard Art Museums,
distributed by Yale University Press. 442pp, 102 illustrated entries. ISBN 978-0-300-17107-5.
Susan Dackerman has done it again. Her first major print
exhibition dropped jaws and opened eyes to an early graphic
phenomenon known only partially but originally widespread:
Painted Prints (Baltimore Museum of Art, 2002). Now she
has richly employed the unparalleled resources of Harvard
University, where she now acts as print curator, to remind us of
something we already knew but seldom study under the rubric
of the history of prints: that all graphic visual material should
form the proper study by art historians. This new exhibition
and its massive catalogue offers rich material, which serves
to reclaim the scholarly need to address this varied imagery
of nature, human anatomy, maps, plane and solid geometry,
and even printed instruments of measurement. Some of these
graphics just appeared in the terser, more expansive catalogue
by Suzanne Karr Schmidt (a contributor of an essay in Dackerman’s tome) Altered and Adorned: Using Renaissance Prints in
Daily Life, (Chicago, Art Institute, 2011). But Dackerman’s exhi-
22
bition considers in depth the crucial role of visual imagery in
the formation of knowledge during the emerging early modern
period (so often defined by the era of the “Scientific Revolution”). This is an ideal use of a university museum’s potential
and mission.
In this endeavor Dackerman has enlisted leading expert
collaborators, particularly about the role of the visual arts in the
history of science, for her book’s essays. Both Lorraine Daston and Katherine Park, already the celebrated co-authors of
Wonders and the Order of Nature (1998), each contributed. Daston
(author with Peter Galison of Objectivity, 2007) discusses “Observation,” while Park considers “Allegories of Knowledge.”
Karr Schmidt focuses on “Georg Hartmann and the Development of Printed Instruments in Nuremberg.” Rounding out the
essays, Claudia Swan, best known for her book on Jacques de
Gheyn and art and science in early seventeenth-century Holland (2005) as well as illustrated botanicals brings her expertise
in “Illustrated Natural History.”
Dackerman’s volume offers sensible and useful topics,
but her arrangement of images sometimes scatters related
works into different sections. For example, the beached whales
that formed such an important contribution to knowledge in
successive engravings by the Goltzius circle appear in three
distinct places: Jan Saenredam’s Beached Whale (1602; no. 3)
appears early, representing the initial section, “Printmaking
and Knowledge,” whereas Jacob Matham’s Beached Whale
(1598; no. 46) provides “Illustrated Natural History;” and
Goltzius’s workshop Beached Pilot Whale (1594; no. 51) exemplifies “Measurement.” Dürer’s Rhinoceros (1515, no. 35) occupies
an entire section of its own, together with its lingering influence, analyzed thoroughly in a dedicated essay by Dackerman.
But other animal images, such as Adriaen Collaert’s engraved
series of birds, mammals, and fishes (no. 45) or Schongauer’s
Elephant (no. 33), appear elsewhere, on either side of that core
animal document.
One substantial contribution, however, of this exhibition
consists of its use of important illustrated book publications,
such as the botanicals by Fuchs, Dodoens, and Clusius, or the
latter’s Exoticorum, illustrated alongside the Matham Beached
Whale. Other elements that are usually examined only for their
documentary value by historians of science, such as human
anatomy images, are given their due as visual artifacts from
fifteenth-century woodcuts through Vesalius and beyond to
university anatomy theaters, including often neglected but
major contributions by familiar artists, such as Hans Baldung’s
or Heinrich Vogtherr’s elaborate anatomy woodcuts (nos.
10-11). However, here, too, related images are widely scatted,
seemingly arbitrarily, across diverse categories, specifically of
Knowledge, Observation, and the “Theater of Nature.” Additionally, Dürer’s influential Books of Human Proportion (no. 54)
appear under “Measurement.”
In her earlier Painted Prints, Dackerman neglected one of
the most vivid of all colored prints of the early modern period
– maps – but in this volume maps of both astronomy and
geography get serious attention, including gore construction
for globes (nos. 17, 78). Though again at opposite ends of the
catalogue, the former has its own section, “Constellations and
Configurations,” and the latter a segment, “Mapping,” which
includes maps of cities, regions, battles and historical events,
and full world views. Here, too, celebrated artist’s names –
Dürer, Beham, Cranach, Holbein (nos. 80-84) – will please print
mavens, whereas celebrated book projects, such as Ortelius’s
atlas (no. 88) also receive attention – but, curiously, not Braun
and Hogenberg’s cities.
For this reader, the most enlightening section of the
catalogue appeared in the form of the measuring instruments,
where Karr Schmidt’s earlier exhibition paved the way for the
horoscopes, astrolabes, and sundials in all their variety. The
marvelous Holbein astronomical woodcut table (no. 73; with
Sebastian Münster), which I included in the large prints exhibition, Grand Scale (2008), rightfully receives its full explanation
here, along with its necessary accompanying dials. Such are
the virtues and lasting value of Dackerman’s team’s deep
researches.
While seemingly unrelated to the main body of works in
the exhibition, a very important final section is devoted to another kind of visual knowledge, the representation of concepts
through personifications and allegorical figures. At the end
of the sixteenth century, especially in Antwerp and Haarlem
prints by noted designers in collaboration with professional
engravers, this kind of imagery appeared in print series. Their
topics encompassed such concepts as Virtues and Vices, Planets
and Elements, Times of Day or Seasons, Continents, Senses,
Liberal Arts, as well as triumphs and progresses. While work
by Ilja Veldman as well as Hans-Martin Kaulbach (“Der Welt
Lauf,” 1997) has elucidated much of this material, its lasting and
powerful resonance with verbal knowledge and memory systems in this period richly repay inclusion in this volume, even
if the forms differ so starkly from the other images.
The other major object of scrutiny about the “Pursuit of
Knowledge” opens the catalogue on a high note: the Nova Reperta (New Discoveries) print series, designed by Jan Stradanus
(1603; no. 1) and engraved (largely by Hans Collaert) celebrates
those novel glories of the early modern era that transcended
antiquity. Rarely discussed, they provide the perfect microcosm of the larger phenomena that follow, including printing,
engraving, voyages of discovery, measurement (compass,
clock, and astrolabe). Now it is we who should celebrate Susan
Dackerman and her collaborators for their own impressive
achievement, which restores these early modern printmakers’
critical role in establishing so many of our own lasting (if all too
often now scattered between libraries and print rooms) fields of
knowledge.
Larry Silver
University of Pennsylvania
Peter van den Brink, in collaboration with Alice
Taatgen and Heinrich Becker, Joos van Cleve: Leonardo
des Nordens. [Cat. exh. Suermondt-Ludwig-Museum,
Aachen, March 17 – June 26, 2011.] Stuttgart: Belser,
2011. 200 pp, fully illustrated; ISBN 978-3-7630-2596-1.
Christiaan Vogelaar, Jan Piet Filedt Kok, Huigen
Leeflang, Lucas van Leyden en de renaissance. [Cat. exh.
Museum De Lakenhal, Leiden, in co-operation with the
Rijksmuseum, Amsterdam, March 20 – June 26, 2011.]
Antwerp: Ludion, 2011, 367 pp, fully illustrated; ISBN
978-90-5544-855-5.
During the last eighteen months, no fewer than six major
exhibitions were devoted to northern artists of the first half of
the sixteenth century. Together with shows about Jan Gossart
(New York and London), Cranach (Cranach et son temps, Brussels and Paris; Cranach: l’altro Rinascimento, Rome), and Jan van
Scorel’s French altarpieces (Paris and Douai), the two monographic exhibitions featuring the work of Joos van Cleve and
Lucas van Leyden reveal the broad range of artistic practices
north of the Alps in the first decades of the sixteenth century
as well as the diversity of current scholarship concerning an
important moment in what is commonly termed the “Northern
Renaissance.”
Joos van Cleve: Leonardo des Nordens is the first major exhibition of the artist’s work, although important, smaller shows
were held in Paris (Joos van Cleve au Louvre, Musée du Lovure,
1996) and Genoa (Joos van Cleve e Genova: intorno al Ritratto
di Stefano Raggio, Palazzo Spinola, 2003). The attractive and
affordable catalogue published in German offers an occasion
to reconsider the work of one of the most successful Antwerp
painters of the early sixteenth century whose accomplishments
have often been overshadowed by those of his contemporaries.
Almost a quarter century after Van Cleve’s death, the
Florentine expatriate Lodovico Guicciardini recorded the artist’s reputation as a master “most outstanding in color and so
excellent at making portraits after life… that he was chosen [by
François Ier] and brought to France to portray the king and the
queen and other princes with greatest praise and reward.” Van
Mander, who is vague about the facts surrounding Van Cleve’s
work, praises his art but condemns his “excessive arrogance
and inflated conceit.” Both he and Dominicus Lampsonius
describe Joos van Cleve as a madman, although they appear to
have conflated him with his son Cornelis, also an artist, who
went insane toward the end of his life. In the Aachen catalogue,
however, the question of the artist’s identity is largely set aside
in favor of a powerful leitmotif first articulated by Ludwig
Baldass (Joos van Cleve, der Meister des Todes Mariä, Vienna 1925)
that Van Cleve’s consummate skill and dynamic working methods enabled him to absorb a wide range of styles and motifs
and to deploy these for commercial advantage.
Seven essays, each treating a different aspect of the artist’s
life or work, precede a catalogue of the sixty-two exhibited
paintings, arranged by genre. With a few exceptions, objects
have a short entry and useful cross-references to relevant passages in the text. Following an overview of the exhibition’s
scope by Pieter van den Brink, the two leading experts on Van
Cleve, John Oliver Hand and Micha Leeflang, reconstruct, with
the aid of the few available documents, the life of Joos van der
Beke, alias van Cleve, exploring the artist’s “rediscovery” in the
nineteenth century as the “Master of the Death of the Virgin”
(after the 1515 altarpiece now in Cologne) and his place in early
twentieth-century historiography.
In the next chapter, Hand, the author of a doctoral thesis
(Princeton, 1978) and the most recent monograph on the artist
(2004), plots the development of Van Cleve’s art through his
major altarpieces, from his beginnings with Jan Joest of Kalkar,
whom he assisted in painting the Nikolai altar (Saint Nicolai,
Kalkar) through his late response to Italian influences. While
exploring the ways in which Van Cleve negotiated local and
international demand for his pictures, Hand also acknowledges
the difficulties in establishing a clear stylistic progression in a
somewhat protean oeuvre. Even documented altarpieces can be
hard to date, and global conclusions about Van Cleve’s treatment of landscape or his ongoing experimentation with figureto-space relationships are largely avoided.
23
In two separate essays, joined under the title “Joos van
Cleve und Genua,” Maria Clelia Galassi and Gianluca Zanelli
paint a rich picture of Van Cleve’s Genoese patrons, all of
whom were firmly established in the commercial and, often,
socio-political life of the Low Countries, generally first in
Bruges and later in Antwerp. Their analysis not only obviates
any need to posit a trip by the artist to Genoa; it also helps to
explain why this Italian expatriate community was so attracted to Van Cleve’s work and how his portraits and religious
pictures functioned as “status symbols” in the Netherlandish
and Ligurian cultures they straddled. The authors convincingly
ascribe Van Cleve’s popularity over an array of contemporary
artists, including Metsys, Gossart, and also Pietro Francesco
Sacci (Lombard, active in Genoa), to his flexibility and willingness to accommodate a client’s stylistic and iconographic predilections in a timely manner. Galassi and Zanelli argue that Van
Cleve’s agility explains, at least partially, the disparate appearance of his Genoese paintings and, in turn, the rapid decline
of his popularity following the arrival of Perino del Vaga and
his introduction of a central Italian mode of painting in Genoa.
Their research opens the way for further investigation into the
artist’s connection to Genoese statesmen attached to the court
in Mechelen, which might yield new discoveries about some
distinguished but unidentified sitters (cat. nos. 52-60).
In a discerning overview of Joos van Cleve’s treatment
of portraits, Cécile Scailliérez weighs the artist’s innovations
against conventions of the time and the achievements of other
painters, in particular Metsys and Gossart, but also Jean Clouet,
Barthel Bruyn, Jan Vermeyen, and Willem Key, whose treatment of the portrait continues, arguably, where Van Cleve’s
experiment leaves off. Van Cleve’s portraits parallel, but do
not appear to lead, a general trend in German and Netherlandish portraiture toward increasing dynamism. Accordingly,
his depictions of burghers become more active, and he also
formulates a response to the conventions of humanist portraiture propagated in images of Erasmus. One unusual feature of
Van Cleve’s portraits that Scailliérez notes is his sitter’s hands,
one bare, the other holding a glove. This rhetorical gesture
enlivens Van Cleve’s subjects with a sense of sprezzatura, as is
most evident in the important group of royal portraits. Scailliérez examines these in light of recent documentary discoveries, historical circumstance, and the artistic milieu of the French
court. She convincingly interprets Van Cleve’s famous portraits
of François Ier (cat. 61) and Henry VIII of England (fig. 82) as
commemorations of an important meeting in October 1532 at
Boulogne-sur-Mer. Comparison with other representations of
members of the French court suggests a dialogue between Van
Cleve’s atmospheric realism and the official, stylized approach
of Clouet.
Like Hand, Scailliérez discusses Van Cleve’s self-portraits,
which the artist often inserted into his religious works, such as
the St. Reinhold altarpiece (cat. 1). She posits that these function as an affirmation of Van Cleve’s own religious beliefs and
his pride as an artist, and may also serve as a form of signature
to enhance his fame abroad. His likeness in the predella of the
Santa Maria della Pace altarpiece (cat. 11), a composition based
on an engraving after Leonardo’s Last Supper, supports all three
contentions. However, Hand’s claim that Van Cleve painted his
own face on a shockingly erotic depiction of Lucretia (classified
under “Andachtsbilder,” cat. 25) is a provocative assertion that
requires further investigation. The suggestion that the artist
would make such a bold statement simply for want of another
model is problematic.
24
Thanks to Micha Leeflang’s research for her doctoral thesis
on Van Cleve (Groningen, 2006), a wealth of technical data is
marshaled to clarify Van Cleve’s oeuvre and his workshop
practices. An examination of his use of cartoons and underdrawing explains how Van Cleve’s workshop produced pictures serially. In addition, infrared analysis is used to support
newer attributions, such as the Triptych of Saints Peter, Paul and
Andreas (cat. no. 2), although this attribution has been questioned (see the review of Mark Evans, The Burlington Magazine,
vol. 153, June 2011, pp. 429-431). Rich illustrations and informative text boxes about specific techniques explain Van Cleve’s
working methods to a broad audience and demonstrate the
ways in which he planned different parts of his compositions
to ensure consistency. The problematic relationship between
Van Cleve’s underdrawings and the small and contested body
of independent drawings associated with his name points to
larger questions about northern painters’ drawing practices in
this period.
The title of the exhibition, which provoked a critical response in earlier reviews, directs our attention to an important
subset of late works, studied in detail by Dan Ewing, that depict Leonardesque themes. For Ewing, the soft chiaroscuro and
graceful treatment of figures in Van Cleve’s many interpretations of the Madonna of the Cherries and the Infants Christ and
Saint John the Baptist Embracing may account for their popularity, although, as the author suggests, these paintings were
probably also valued as devotional images. The sheer number
of Van Cleve’s Leonardesque paintings, owned by merchants as
well as Margaret of Austria and François Ier, certainly validates
the success of the Northerner’s variations on a few Leonardo
models. However, as Suzanne Sulzberger noted as early as 1955
(Arte Lombarda I, pp. 105-111), quantity alone does not necessarily explain the significance of Leonardo da Vinci for Van Cleve
and his northern audience. A broader reexamination of textual
as well as visual sources might foster a more nuanced understanding of why Van Cleve gravitated to Leonardo’s sfumato
treatment of holy figures when his contemporaries, especially
Metsys, pursued a deeper engagement with physiognomic
studies. By suggesting new avenues of research, this insightful
and richly-illustrated catalogue will surely serve as the basis for
any future study of Joos van Cleve.
Lucas van Leyden en de renaissance was the culmination of
years of research by a team of scholars. The exhibition catalogue, available exclusively in Dutch, is an outstanding contribution that surpasses earlier studies of the artist, including
the seminal Lucas van Leyden: Studies (Nederlands Kunsthistorisch
Jaarboek, vol. 29, 1978). This substantial publication includes
eight essays, biographies of the six chief artists discussed,
and 157 main entries that present paintings, prints, drawings,
painted glass roundels, and book illustrations by Van Leyden
and after his designs, as well as a broad range of comparative
material.
In a probing introductory essay, Christaan Vogelaar
places Lucas van Leyden in the context of the bustling artistic
climate of late fifteenth- and early sixteenth-century Leiden,
where, as Jeremy Bangs has shown, the artist’s teacher Cornelis
Engebrechtsz negotiated complex structures of patronage and
consumption (Cornelis Engebrechtsz.’s Leiden: Studies in Cultural
History, Assen 1979). Van Leyden’s heritage and his sources are
given new attention in Ilja Veldman’s ground-breaking study,
which reveals an abundance of visual material at the artist’s
disposal, much of it previously overlooked devotional wood-
cuts and scenes from religious plays, as well as the classical
vocabulary of triumphal entries and rhetoricians’ performances. Parisian devotional books, in particular, offered motifs that
the artist rapidly translated into his personal style and adapted
to his refined burin work. One striking example is an image of
“April” from Guillaume Le Rouge’s Horae Virginis Beatae Mariae
of 1509, which served as a point of departure for the Two Couples in a Wood, generally dated to the same year (cat. 43; B. 146).
Quotations from popular prints also occur frequently in paintings, especially to support religious typologies (cf. figs. 2.25,
2.27) or to invoke well-known moralizing adages and proverbs
(cf. pp. 68-77). Veldman persuasively relates these themes to
the larger question of Van Leyden’s awareness of Erasmian
humanism. This line of inquiry invites further research that
might yield yet more discoveries, especially concerning elusive
images such as the Young Couple Walking at Night with a Fool
(cat. 42; B. 147).
The exhibition’s installation and the beautiful plates in the
catalogue underscore the importance of the artist’s small but
highly accomplished painted oeuvre and his brilliant use of
color. “The Leiden Painters at Work” summarizes the findings
of a team of conservators and art historians who investigated
paintings by Lucas van Leyden and other artists. Their research
complements Elise Lawton Smith’s catalogue raisonné (1992)
by offering new information about Van Leyden’s painting
technique, including his “wet in wet” approach, which permitted the buildup of overlapping paint layers to create vibrant
coloristic effects. Infrared reflectography has revealed that
he was also tremendously innovative beneath the surface,
planning compositions with fluid underdrawings that had no
precedent in North Netherlandish art. Together, these techniques demonstrate a decisive advance beyond the schematic
approach seen in the work of his contemporaries and predecessors, most especially Cornelis Engebrechtsz and Aertgen van
Leyden. A convincing reconstruction is offered for the damaged
Christ Healing the Blind Man of Jericho (1531, cat. 117a), although
surprisingly little attention is given to the artist’s tempera
paintings on canvas support.
One of the most pressing questions in Lucas van Leyden
scholarship remains the nature of his relationship to Antwerp,
the unrivaled center of artistic production and innovation in
the region. In his essay entitled “Leiden and Antwerp around
1520: The Meeting of Albrecht Dürer and the Introduction of
Landscape,” Jan Piet Filedt Kok proposes that a Master J. Kock,
possibly together with the Master of the Vienna Lamentation,
was responsible for bringing to Leiden an Antwerp conception of landscape painting inspired by Patinir. The identity of
Master J. Kock (apparently not to be confused with the welldocumented Jan Wellensz de Cock) is constructed around a
painting of Saint Christopher and the Christ Child, dated to 152025 (cat. 20), which was later treated in a print of ca. 1560 signed
“J. Kock Pictum” (unfortunately not illustrated). Compelling
comparisons notwithstanding, the argumentation is difficult to
follow. Moreover, such a complex and specific genealogy may
actually cloud our understanding of what must have been a
lively, if occasionally unbalanced, exchange of artistic motifs
and techniques between two centers of production where innovations of all sorts were eagerly pursued, particularly in the
treatment of landscape.
tion, Huigen Leeflang underscores the artist’s tremendous
ingenuity, precociousness, and versatility. Vasari, who paid
careful attention to Van Leyden’s prints, described the relationship between his graphic work and that of Albrecht Dürer in
terms of a paragone. Leeflang elucidates that comparison as it
pertains to Van Leyden’s knowledge of Dürer before they met
in 1521 and after their famous encounter. Leeflang’s entries address iconographic nuances (eg. cat. 40; B. 126), while his essay
provides new insight into the reverberations of Van Leyden’s
inventions in Italian prints, especially those of Marcantonio
Raimondi, who famously quoted his landscapes. In turn, Van
Leyden later studied Raimondi’s prints as he gave increasing
attention to Raphaelesque representations of the nude, possibly
encouraged by his encounter with Gossart.
In sharp contrast to Joos van Cleve, Lucas van Leyden has
left a substantial drawn oeuvre that most likely represents only
a fraction of what once existed. The exhibition featured many of
his well known drawings and exciting new discoveries, including the Angel Gabriel, a pendant to Mary Annunciate of ca. 1525
(cats. 85a, b). Wouter Kloek revisits conclusions of his earlier
study (Lucas van Leyden: Studies, op. cit, pp. 425-458) in an essay
that examines the development of Lucas’s drawing technique
by function. According to Kloek, Van Leyden resisted contemporary notions of disegno, in which the artist’s intellectual
invention was increasingly separated from manual execution.
Instead, Van Leyden used a variety of drawing techniques to
record details or figures, or to work out compositions that he
would later execute in other media.
The final two essays in the catalogue round out the discussion of Lucas van Leyden’s immediate impact by addressing
domains in which his designs were influential: painted glass
and illustrated books. According to Van Mander, Van Leyden
painted glass, but no works are extant. Timothy Husband notes
that nearly every northern painter was involved in this art.
Unfortunately, only small, domestic pieces survive. Iconoclasm
and neglect destroyed larger, public works in Leiden and
elsewhere. We know that these objects were prized, however.
A painted glass Entry of David into Jerusalem (possibly Milan,
Ambrosiana) belonged to Goltzius, a great admirer of Van
Leyden’s work, and was engraved by Jan Saenredam (B. III,
109). Elegant glass panels were also made after Van Leyden’s
prints, although the extent to which he was involved in this
production is not clear. Marieke van Delft and Ed van der Vlist
show that the use of Van Leyden’s designs for book illustrations is an important facet of his legacy. But the magnitude of
his impact could perhaps best be seen in a small, concurrent
exhibition at the Rembrandthuis, Amsterdam (March 11– June
19, 2011), where Lucas van Leyden’s prints were hung alongside Rembrandt etchings. The comparisons, familiar or not,
were reminders of the homage one great Leiden artist offered to
his Renaissance forebear.
Edward Wouk
Metropolitan Museum of Art
Lucas van Leyden’s extraordinary prints made him an
international figure and assured his lasting reputation. In a
chronological overview of Van Leyden’s prints and their recep-
25
Christian Tico Seifert, Dürer’s Fame. [Cat. exh. National
Galleries of Scotland, Edinburgh, June 9 – October 11,
2011.] Edinburgh: National Galleries of Scotland, 2011.
48 pp, 32 illus. ISBN 978-1-906270-41-4.
Walter Gibson, Figures of Speech: Picturing Proverbs in
Renaissance Netherlands. Berkeley: University of California Press, 2010. xv, 236 pp, fully illustrated, ISBN
978-0-520-25954-6.
An old saying goes: if you find yourself surrounded by
lemons, make lemonade. Although the National Gallery of
Scotland owns a major Holbein, Law and Grace, ca. 1535 (see
Hans Holbein the Younger, the Basel Years 1515-1532, cat. no. 152),
to show German art in Edinburgh requires considerable dependence on a fine print collection of Dürer. Additionally, Tico
Seifert has usefully exploited local holdings that reveal Dürer’s
posthumous reputation, especially in Britain, e.g. William Bell
Scott, Albrecht Dürer in Nuremberg (1854; National Gallery of
Scotland, fig. 27) to cobble a very attractive and illuminating
focus show that lives up to its name.
Gerald Volker Grimm, Pieter Bruegel d. Ä.: Italien und
die Antike. Göttingen: Cuvillier Verlag, 2009. 226 pp,
fully illustrated, ISBN 978-3-86955-142-5.
During renovations at the National Portrait Gallery of
Scotland, which resulted in a large, main floor highlights
presentation at the National Gallery entrance, space has been
scarce throughout the museum. Thus Seifert’s exhibition was
mounted in a narrow segment of the new museum building
at ground level. One had to seek it out amidst understated inhouse promotion. That installation also resulted in both good
news and bad news: it did focus attention and allow for careful
light levels on the works on paper, some of astonishing quality
(especially the 1504 Adam and Eve); nevertheless, this exhibition
had to compete for that close attention with various unrelated
objects in its immediate surroundings.
Ultimately, Seifert produced a worthy exhibition and valuable catalogue essay. Authoritative and well-researched with
current literature, he offers a new audience a very useful primer
on the artist and his legacy, beginning with the exchange of
drawings with Raphael and the unauthorized engraved copies
by Marcantonio Raimondi as well as the creative channeling
of Dürer by Goltzius. Scotland owns a ter Brugghen Beheading
of John the Baptist that clearly depends on a 1510 Dürer woodcut. Along with restrikes, datable by watermarks, to show the
continuing demand for Dürer prints by collectors, one unusual
item in the exhibition used the reverse of a print to reveal just
how often that prized sheet was repaired by later collectors.
Thus, along with gems for connoisseurs, this small exhibition
offered instructive material about historiography in Britain (2632), beginning as early as the Wenceslaus Hollar etchings after
Dürer holdings in the seventeenth-century Arundel collection.
Dürer’s Fame clearly marks Tico Seifert as a versatile, creative
curator, both a print expert and an informed adept concerning
his home collections in Edinburgh.
HNA visitors to Edinburgh before 15 January 2012 have
an added bonus: at the Queen’s Gallery in Holyrood Palace
an exhibition of the major holdings of the royal collection of
Northern Renaissance – paintings as well as miniatures and
drawings. Despite the star-driven subtitle of the accompanying
fully illustrated catalogue, Dürer to Holbein, by Kate Heard and
Lucy Whitaker, this exhibition ranges widely from the Netherlands, Holy Roman Empire, and France, to include portraits
in England of Henry VIII, miniatures (Lucas Hornebout) and
full-size (Joos van Cleve). Merits a detour!
Larry Silver
University of Pennsylvania
26
Margaret A. Sullivan, Bruegel and the Creative Process,
1559 – 1563. Burlington, VT: Ashgate Press, 2010. xi, 248
pp, fully illustrated, ISBN 978-0-7546-6979-1.
Though different questions lie at the heart of each of these
books, all three expand our thinking about the vast intellectual
universe informing Pieter Bruegel the Elder’s oeuvre. Each
makes a major contribution to Bruegel studies and should continue to be lastingly important.
From Van Mander’s “Pier den droll” to Hymans’s peasant
painter, questions about Bruegel’s intellect have problematized Bruegel discourse. Carl Stridbeck (1956) suggested links
between Carnival and Lent and Dirck Volkertszoon Coornhert’s
humanism, but only after Justus Müller Hofstede (1979) underscored the notion of a humanist framework for interpreting
Bruegel did we begin our earnest pursuit of the multifaceted
intelligence permeating his pictures. Scholars have since found
rich fodder for such discussions in even the bawdiest of the artist’s works. In this sense, we are especially indebted to Margaret Sullivan, whose Bruegel’s Peasants (1994) identified classical
texts that could have been important for such imagery. However, we have been slow to move through the questionable notion
that Bruegel was merely a conduit for humanist thinking and
on to a thorough exploration of the next logical possibility: that
he was his own interpreter of antiquity, earthy and cacophonous, knowledgeable and inventive, something of a pictorial
Rabelais. Given Bruegel’s seminal status in formulations of
what is distinctly Netherlandish about the art of the early
modern Low Countries, the hesitancy to grant him agency in
his engagement with humanism has had broader ramifications,
delimiting definitions of Netherlandish art writ large.
While the antiquarian impetuses driving Bruegel’s work
have prompted important discourse, much of it still lacks developed notions of the humanism in his unique combination of
subjects and pictorial solutions for representing them. Likewise,
while Bruegel’s particular brand of imagery has made him a
nexus for mapping Netherlandish art’s long sixteenth century,
especially its prescient modernities, without a critical elaboration of his reach into the ancient and medieval past, a nuanced
understanding of the Netherlandish vision of antiquity will
continue to elude us. Just how can we best describe Bruegel’s
role in defining a “native” Netherlandish antiquarianism as
opposed to the Italian looking one that his contemporaries
developed?
If these books are any indication, furthering our understanding of Bruegel’s relation to his antiquarian milieu is now
among the central sustained missions of Bruegel studies. In
addressing the state of the field, all three authors advocate
approaching Bruegel’s antiquarianism. Gerald Volker Grimm
perhaps makes things a bit too easy on himself by starting with
the refutable statement that the only thing Bruegel scholars
agree on is the lack of “foreign influence” in his pictures – this
has not been true at least since Jane ten Brink Goldsmith looked
at Bruegel and Italy (1992), if not well before, when Grossmann
(1955) tracked Bruegel’s Italian journey. But Grimm goes on to
substantiate his insistence that the visual presence of antiquity
in Bruegel’s work is a much richer topic than scholars have
acknowledged. The aim of his groundbreaking study is to present a catalogue exclusively dedicated to manifesting Bruegel’s
uses of antiquity’s visual aspect. He tackles seventeen images
traditionally given to Bruegel and five whose attributions are
disputed. We now have a much more vivid imagination for
what Bruegel did with his time in Rome. Perhaps surprisingly,
given traditional notions of Bruegel, he must have drawn
within the typical range of sources prescribed for any Netherlandish artist in the Eternal City: antiquities and the works of
important Italian masters. Mainly, however, Grimm’s findings
suggest Bruegel’s specialized affection for antiquity’s minutiae.
His ability to spot Bruegel’s use of motifs from sarcophagi,
decorative patterns, and especially numismatics, reveals a startling new depth to the artist’s antiquarianism.
A case in point is Grimm’s tour de force, a sustained entry
on Bruegel’s London Adoration (1564). Bruegel invented his
own grotteschi for the lead king’s brocading, which contains
vegetal and marine motifs, and figures derived from Rome’s
famous river god sculptures. Moreover, the attitudes of the
Madonna and Child are clear quotations of Michelangelo’s Bruges Madonna. Thus, Grimm has provided us with an excellent
model for where and how to find our way to Bruegel’s visual
antique sources. As for interpretation, what the presence of a
specifically Bruegelian visualization of antiquity might have
meant for Bruegel or his audience, we must devise our own
thoughts; Grimm gives brief iconographic analyses, but content
is not his mission. It really is too bad that most of Grimm’s
images are the size of postage stamps. Despite the inclusion of
details, their tiny size makes following his meticulous observations difficult.
Sullivan takes a diachronic approach to Bruegel revealing his developing humanism. She brackets what she sees as
an exceptionally creative four-year period for him from 1559
to 1563. This period’s major Bruegels include: Netherlandish Proverbs, Carnival and Lent, Dulle Griet, and the Triumph of
Death, art which Sullivan deems “unique,” even “strange.” She
points out that his work after this phase, when he moved to the
more conservative Brussels, is more traditional, for example,
The Carrying of the Cross and The Fall of Icarus. Her end date is
problematic, however, because the former painting was for an
Antwerp patron and there is no consensus on the date of the
latter. Nonetheless, Sullivan’s insight is fruitful if only because
it prompts a different question of Bruegel than scholars have
traditionally asked: how should we relate evolving definitions
of humanism with Bruegel’s artistry, and with his identity? We
risk missing Bruegel’s role in devising his art’s antiquarian refractions, Sullivan argues, if we think of humanists reductively,
as holders of degrees. This point of view plays out over five
chapters that present evidence for Bruegel’s agency in making
his art for Erasmian collectors, “adventuresome patrons” (101)
with a “Christian Stoic perspective” (56). The book’s argument
culminates with Chapter Five’s elaboration of a “turning point”
for Bruegel that witnesses an end to the period Sullivan has
identified. Her point of departure is the familiar comparison of
Bruegel’s Boschian reading of the Fall of the Rebel Angels with
Frans Floris’s Italianate treatment of the subject. The contrast
gives clarity to Sullivan’s argument for a Bruegelian brand of
picturing an alternative humanism. Its visual modesty goes
hand in hand with its satirical conceit.
Early reviews have complained that Sullivan does not live
up to her title’s promise of an exploration of process. Though
her study eschews elaborations of the nitty-gritty of artistic
practice and notions of creativity, it offers a sustained discussion of how Bruegel utilized his unique gifts to respond to
shifting contexts. While the terms by which Sullivan earmarks
the period are questionable – by making traditional imagery,
was he any less “creative” after this phase? – she convinces
us that it is a distinct phase in the artist’s career, worthy of
scrutiny as such. This book is thoughtfully conceived, richly
elaborated, and will make sensitive readers more conscious
of Bruegel’s trajectory, the changing nature of his approach to
making pictures.
Walter Gibson’s new book situates Bruegel’s proverb imagery at the center of a broader universe of literary and visual
proverb productions. Here, too, Netherlandish antiquarianism
looms large, as Gibson brings Bruegel’s visualizations of pithy
sayings into the main stream of Erasmian thought, steeped as it
is in ancient rhetoric. The fountainhead for the Netherlandish
interest in proverbs is Erasmus’s Adagiorum Chiliades, a collection of wise thoughts that the Rotterdam humanist culled from
ancient literature, published in 1500, and continued to expand
until his death. From the start, Gibson urges us to think of
Bruegel as Erasmus’s equal in knowing proverbs. Moreover,
like Sullivan, he advocates for Bruegel’s agency in bringing
these fragmented, cryptic thoughts from antiquity into the
pictorial present. Gibson structures his book around case studies, starting with the famous Berlin Proverbs panel (1560) and
moving on to images in the Bruegel orbit, such as Jan Wierix’s
engraved Twelve Proverbs. Throughout, Gibson displays a depth
of pictorial and literary erudition that only comes with a lifetime of study. For example, his second chapter tracks the image
at the center of Bosch’s Haywain – lovers and musicians atop a
load of hay, with hangers on grasping for the wagon’s cargo as
if it is gold. Gibson’s teaches us a dazzling range of proverbs,
plays, and other literature referring to hay. Along the way, he
clarifies the heretofore mysterious substitution of turnips for
hay in later images from the Haywain and Hay Allegory family,
like Remigius Hogenberg’s Turnip Wagon; here, attendant figures clutch and grab at turnips because the word in Dutch, raap,
puns well with the verb rapen, which means “to scrounge.”
Moreover, Gibson points out, when Hogenberg devised his
print, a spate of moralizing literature used the turnip as a metaphor for empty material pursuits. Gibson’s writing is concise,
his language unadorned. However, in some places, concision
gives way to abbreviated passages that one wishes were more
expansive, given his obvious depth of knowledge. In the end,
this book confirms Mark Meadow’s analysis of the Berlin panel:
Bruegel’s proverb imagery consummated a pictorial category
that was vital for his antiquarian milieu.
Together these books also confirm that as definitions of
early modern Netherlandish art evolve, the idea of Pieter Bruegel the Elder becomes more colossal; writing about him is difficult. We applaud all three authors for mastering the language
necessary to add judicious insights to the ongoing conversation
about Bruegel’s art. Yet, as we continue to think before Bruegel’s astonishing oeuvre, we know there is much more to say.
Arthur J. DiFuria
Savannah College of Art and Design
27
Michael Cole, Ambitious Form: Giambologna, Ammanati, and Danti in Florence. Princeton: Princeton
University Press, 2011. 364 pp, 170 b&w illus. ISBN
978-0-691-14744-4.
Michael Cole’s interesting and important new book examines the production of Florentine sculptors during the second
half of the sixteenth century. The work offers a significant
contribution to our knowledge of the arts in general during this
period, but it takes as its principal subject the problems peculiar to sculptors. Giambologna is the hero of this study, though,
as the title indicates, his work is seen in competition with his
Florentine rivals, Bartolomeo Ammanati and Vincenzo Danti.
Cole’s project involves a revision of John Pope-Hennessy’s
take on sixteenth-century sculpture, seen mostly through the
lens of Michelangelo. In his landmark study of 1963, Pope-Hennessy actually expressed little interest in later sixteenth-century
sculpture, which he roundly denigrates. But Michelangelo, as
influential as he was, hardly exhausted sculptural possibilities.
Cole attempts, as he says, to recover “the rules of the game,”
to account for the complex sculptural discourse during these
years. This he does without recourse to the rather outdated
concept of “Mannerism” for which Giambologna has long been
a standard bearer. The author draws from an impressive array
of textual sources. There are expected voices such as that of
Raffaello Borghini, whose rich dialogue sheds extensive light
on Giambologna’s oeuvre. And there are many others, such as
Vincenzo Danti’s own treatise that Cole mines to good effect.
The famous bending or twisting of Giambologna’s figures
is treated in one section that sets the sculptor’s practice in the
context of virtuoso approaches to articulating the body within
the block of stone. Cole links these sculptural poses with
practices in painting by Bronzino and others, which might
earn criticism for unnecessary contortions. But Giambologna,
of course, worked extensively in bronze. His unprecedented
production of small, portable bronze statuettes as prime objects
is discussed at some length – especially notable, since Giambologna was not trained as a goldsmith.
Among the themes in this book is the ambivalence felt by
the leading sculptors toward manual labor, toward the physical
effort necessary to craft their product. The appealing image of
Vulcan as smith competed with the desire to claim sculpture as
a liberal art. Another issue is that of careful finish as opposed to
the “non finito” look of the roughly carved or cast, with interesting comments reported from Leone Leone, Filippo Baldinucci,
Francesco Bocchi, and others. In addition to fashioning his figures with a smooth finish, Giambologna may have eliminated
from his statues much ornamentation – the expected diadems
and so forth – in an attempt to avoid the excessive decoration
deplored by critics such as Bocchi.
There follow a series of close studies of specific commissions. An example is the Neptune Fountain in Bologna, a point of
reference for years to come. And there is extensive discussion
of Giambologna’s Mercury, his Equestrian Monument to Cosimo I
de’ Medici, and his design and execution of the Salviati Chapel
in San Marco.
This last project prompts Cole to address the problematic
relation of sculpture to architecture, a consistent theme in the
book. There seems to have been a long-standing insecurity
among sculptors regarding architecture as a more serious art.
Cellini’s text of the 1560s, “On Architecture,” goes so far as to
28
claim the art of building as the “second daughter of sculpture”
in what Cole suggests may be a defensive move. Cellini calls
forth Brunelleschi, Antonio da Sangallo, and Michelangelo, all
sculptor-architects, as demonstrations of the symbiotic relation
between the arts. That said, Giambologna’s architectural practice seems, primarily, to have been the designing of façades.
The Salviati Chapel is a closed space with highly articulated
walls – strongly reminiscent of exterior design turned inward.
This is not to detract from Giambologna’s achievement, but it
might be pointed out that many sculptors and painters appropriated the more spectacular duties of the architect, fashioning
the public face to buildings. They became masters in the use of
the classical orders and established ornamental features. The
erection of vaults and other structural concerns might be left to
trained masons.
One issue particularly pertinent to readers of this Newsletter is the question of Giambologna’s nationality. He was born in
Douai, then in the Flemish cultural orbit, and studied, we are
told, with the eminent Jacques Dubroeucq in Mons. Dubrouecq,
artist to the emperor, was the leading sculptor in the Low
Countries during the 1540s. No works by Giambologna prior
to his arrival in Italy are known. It is nonetheless true that he
identified himself as “Belga” and helped train several Netherlandish sculptors. His studio was a port of call to traveling
painters from the Low Countries, such as Hendrik Goltzius,
Pieter de Witte, and Peter Paul Rubens. And he erected in
the Soccorso Chapel of Santissima Annunziata in Florence a
“tomb …for all of those who, coming from the Flemish nation,
exercised in the beautiful departments of sculpture and architecture.” Cole acknowledges this identification in repeatedly
calling Giambologna “the Fleming.” But can Giambologna be
considered Netherlandish in an artistic sense? In his monograph on the sculptor (Giambologna, Moyer Bell, 1987), Charles
Avery suggested that certain qualities in Giambologna’s output
might betray his early training in the Low Countries. And I,
too, wonder whether some of Giambologna’s female figures,
such as the Architectura in the Barghello, may reveal his earlier
northern experience. These figures, sleek and abstracted, with
little articulation of joints or musculature, are quite different
from works by Ammanati and others in Florence. They recall
the few northern nudes such as Willem van den Broecke’s
Venus and Amor of 1559 (private collection) and, perhaps, the
stucco nudes designed by Primaticcio at Fontainebleau – which
were very much in Netherlandish consciousness. Yet there is
very little to go on.
It is interesting to note that an enormous number of
talented sculptors emigrated from the Netherlands during the
second half of the sixteenth century. Some, like Giambologna,
traveled to Italy; others relocated in Spain, England, France,
Germany, Austria, and Poland. In fact, the history of Netherlandish sculpture during this period plays out largely abroad,
and a significant chapter arises from Giambologna’s tutelage.
The twisting figures of Giambologna have no surviving precedents in the Low Countries, yet expatriate Netherlanders like
Adriaen de Vries and Hubert Gerhard soon developed this
feature into a continuing genre. The very “Netherlandishness”
of these sculptors, who by and large avoided practicing in the
Low Countries, becomes a problematic issue. Sculpture in the
second half of the sixteenth century became increasingly panEuropean, much as its aristocratic patrons came to adopt an
international outlook. The great sculpture workshops like that
of Giambologna mandated extensive collaboration of artists
from varied backgrounds, whether in carving or casting. This
was Willem van Tetrode’s route to Cellini’s workshop. And it
was the way that the Netherlanders Pierre Franqueville, Hans
van Mont, and Adriaen de Vries gained entrance to Giambologna’s studio.
Nor was this exclusively an Italian phenomenon. The contemporary Shrine to Moritz of Saxony in Freiberg, built from
1559-63, was commissioned from an equally heterogeneous assortment of artists. The brothers Gabriel and Benedikt de Thola
from Brescia designed the imposing monument, which looks
a bit like Michelangelo’s first project for the Tomb of Julius II.
The effigy of Moritz was fashioned after a court portrait by
the Dresden painter Hans Krel. The bronze griffins supporting
the upper plinth were cast in Lübeck. And much of the fine
alabaster carving of ancient warriors and muses was entrusted
to Antonius van Zerroen of Antwerp. Projects such as these utterly defeat nationalist scholarship.
Ambitious Form is itself an ambitious work that has much to
recommend it. Aided by sensitive formal analysis and textual
interpretation, Cole offers insights into the elite sculptor’s brief.
Multiple facets to Giambologna’s career are now clearer – his
technical achievements in marble and bronze, his professional
dialogue with compatriots, and his approach to architecture
among others. The book is a significant contribution to our
understanding of the arts of what might be called the later
Renaissance.
Ethan Matt Kavaler
University of Toronto
Seventeenth-Century Flemish
Kristin Lohse Belkin, Rubens. Copies and Adaptions
from Renaissance and Later Artists: German and Netherlandish Artists (Corpus Rubenianum Ludwig Burchard,
Part XXVI [I]). London: Harvey Miller Publishers (an
imprint of Brepols Publishers, Turnhout), 2009, 2 vols.,
I: 280 pp, 4 b&w illus., 21 color pls; II: 320 pp, 378 b&w
illus. ISBN 978-1-905375-38-7.
Almost thirty years ago I sat looking at a drawing of the
Adoration of the Shepherds in the Morgan Library. Attributed to
Hans Süss von Kulmbach, the sketch unmistakably betrayed
Albrecht Dürer’s influence in its architectural setting and figures. Yet several faces surprisingly recalled the style of Rubens
rather than any sixteenth-century German master. The Virgin
Mary’s face was wholly redrawn and the upper half of her
torso was stained with body color. I was rather startled to learn
that it was Rubens himself who had reworked this century-old
drawing (cat. no. 61). The experience made me wonder what attracted Rubens to this Nuremberg master’s sketch and why he
seemed unconcerned about disfiguring another artist’s creation.
Kristin Belkin’s latest contribution to the Corpus Rubenianum Ludwig Burchard series provides answers through her
assessment of Rubens’s practice of both copying and touching
up the drawings and paintings by older and contemporary
masters. She addresses the German and Netherlandish artists
while Jeremy Wood’s related study treats Italians (6 vols., 201011; see the reviews below). Rubens’s practice even inspired
Valerius Röver, an eighteenth-century Dutch collector, to coin
the term “Rubenisato” (p. 69) or Rubenized to describe this
phenomenon. Belkin and Wood, who often visited collections
together, faced the daunting task of tracking down the copies
and adaptations (their term for his alterations to existing works
of art), and addressing questions of attribution and sources.
Then they had to make sense of the vast body of material, of
Rubens’s techniques, and of issues of function. Part of their
initial challenge was determining where to place certain works,
such as Pieter Coecke van Aelst’s drawing of Adam Accusing
Eve before God (no. 103; Amsterdam, Rijksprentenkabinet).1
Although the original composition was by Baldassare Peruzzi,
it was Coecke’s replica that Rubens retouched so the entry is in
the present volume. Some of Rubens’s copies after designs by
other masters are treated in separate Corpus volumes, such as
Belkin’s The Costume Book (1978) or future tomes on portraiture
or the Theoretical Notebook.
This study consists of a lengthy introduction (pp. 2570) followed by 147 often highly detailed entries as well as
a briefer section on 29 rejected attributions. Belkin discusses
how Rubens’s practice of copying works by older and more
contemporary artists began already around 1590 when he was
just thirteen and still a student at the local Latin school. As a
youth he meticulously replicated the minute woodcuts of Hans
Holbein the Younger’s Les Images de la Mort (Lyons, 1562 edition; nos. 14-57; Antwerp, Museum Plantin-Moretus/Stedelijk
Prentenkabinet). Rubens’s early practice of copying entire
compositions, as here, will soon give way to his more focused
attention on just a few figures or details that interested him.
Prior to his departure for Italy in 1600, Rubens’s sources were
illustrated books and, less often, individual prints by Albrecht
Dürer, Jost Amman, Tobias Stimmer, Hans Weiditz, Hendrick
Goltzius, Barthel Beham, and Johannes Stradanus, among
others, works that he had access to either at home or through
his teachers. Like many apprentices, he learned by copying the
style and compositions of approved masters while building up
his own corpus of models for future reference. While in Italy
from 1600 to 1608, Rubens frequently purchased Italian copies
of Renaissance and more contemporary art, which freed him to
concentrate on figures, poses, and other details that captured
his interest rather than replicating whole compositions. This
more selective approach continued throughout his subsequent
career.
Belkin distinguishes four types of copies: documents of
works of art; visual sources for poses, gestures, expressions, or
drapery motifs; copies made for commercial reasons, such as a
commission; and creative or interpretive replicas, which served
as a “source of inspiration or solution to formal problems, as
a challenge or act of competition with another master” (p. 31).
Rubens’s retouching of other artists’ drawings and paintings
forms a somewhat separate category. His copies and adaptations of German and Netherlandish art mostly date before 1616
though a few were made after the mid-1630s. What reasons,
besides having established a well-stocked collection of images,
might explain why he virtually halted this practice for almost
twenty years? Was this true too for his copies and adaptations
of Italian art? A few comparative remarks would have been
welcomed.
1. Editor’s note: the drawing was recently attributed to Jan Gossart by Stijn Alsteens, see Maryan Ainsworth, Man, Myth, and Sensual
Pleasures: Jan Gossart’s Renaissance: The Complete Works, 2010, no. 66v.
29
Rubens’s “intervention,” Belkin’s deft term for his retouching of drawings and paintings by other masters, represents the
largest group of drawings after the many sketches of his own
invention. Most of the roughly 250 retouched sheets are by
Italian, not German and Netherlandish, artists. The Northern
European examples are mainly originals while the Italian drawings are usually anonymous copies after famous monuments.
Typically, Rubens employed the point of a brush and brown
or red wash. Body color or oils were added for “strengthening
forms or contrasts of dark and light, emphasizing the properties of textures or covering up unwanted details” (p. 42). Belkin
notes the difficulties in determining authorship since occasionally Rubens’s additions mask the original composition so
thoroughly. In a few cases (eg. nos. 121, 141, 1442, 144), Rubens
(or an assistant) repaired torn or otherwise damaged drawings
and sketched in the missing parts or what he thought could be
lacking. Ultimately, Belkin concludes, “It seems that Rubens
had an irresistible urge to touch up what came under his hands:
to put his stamp on it, to make it his own” (p. 49). She stresses
his practical use of such drawings as teaching and studio props
rather than as collector’s items. Yet, as she notes, there is little
evidence that Rubens taught his assistants to retouch the works
of others. Belkin mentions Jacob Jordaens and Erasmus Quellinus occasionally did it; however, how widespread was this
practice? I wondered too how often Rubens strengthened or
corrected drawings by his pupils as a teaching exercise, much
as Rembrandt did to the sketches of Constantijn van Renesse.
The idea of aemulatio or artistic competition rarely seems to
have been a prime motivation in Rubens’s relation to other
earlier northern masters. This sense of competition, however,
might explain why Rubens transformed the hermit in a landscape by Paul Brill into a voluptuous Psyche (no. 252; Madrid,
Museo Nacional del Prado), an act changing the picture’s
subject.
The catalogue of works is impressively thorough. Each
entry includes title, materials, measurements, current ownership, provenance, past exhibitions (if any), literature, discussion, date, and notes. The author’s remarks are often quite
lengthy, as in the case of Rubens’s copy after Hans Holbein the
Younger’s Portrait of Sir Thomas More (no. 58, pp. 136-43; Madrid, Museo Nacional del Prado). Belkin excels as a sleuth. She
ferrets out information, old and new, as she explains Rubens’s
sources, techniques, and, generally, intentions. A sheet with
several animal studies (no. 2; Paris, Musée du Louvre) copies
details from two woodcuts by Jost Amman illustrating Flavius Josephus’s De Antiquitatibus iudaicis (Frankfurt: Sigmund
Feyerabend, 1580). The drawing, dating around 1595, shows
young Rubens focusing on just a few creatures out of the many
that populate the foregrounds of these two prints. We can only
speculate why he settled on these animals rather than others
in the same book. Belkin’s wide-ranging knowledge and lucid
writing style make these entries a pleasure to read.
Belkin remarks (p. 39) that Rubens’s copies and drawings of his own invention were probably kept in the cantoor, a
storage area in one or two small rooms on the first upper floor
situated off the studio. The issue of how Rubens organized this
collection is treated only briefly here (p. 38) though Belkin has
discussed this more fully in her essay “Rubens as Collector of
Drawings” in Belkin and Fiona Healy, A House of Art: Rubens as
Collector (Antwerp, Rubenshuis, 2004). He apparently adopted
a thematic system of filing rather than one arranged by artists
or schools. The drawings and retouched sheets were housed
in a locked cabinet, which permitted him to control who had
30
access to this corpus and presumably also to his orginal drawings. One wonders how functional this system proved especially as the number of works expanded over the years.
When and where did Rubens acquire or gain access to the
originals that he copied or retouched? Belkin mentions that
some of the German books, including Holbein’s Les Images de
la Mort, which as of 1570 was on the Catholic Church’s index
of condemned books in Belgium, were likely already in the
family’s possession in Cologne. While some illustrated books,
prints, and drawings were available on the market in Antwerp
or Italy, other items were more difficult to see. Rubens made
two drawings after miniatures in René of Anjou’s Le Livre des
Tournois, a manuscript today in Paris (Bibliothèque Nationale
de France, ms. fr. 2692). Following Hans Mielke’s suggestion,
Belkin argues that Rubens must have seen the copy ordered
by Lodewijk van Gruuthuse in 1489 as a gift for King Charles
VIII of France. This encounter must have occurred only in c.
1622-25 in Paris while Rubens was employed by Marie de’
Medici. If correct, these are exceptions since Rubens’s northern
copies typically date before 1616 or after c. 1635. Late medieval
costumes and tournament scenes continued to fascinate the artist. Belkin is to be congratulated for bringing order and sensible
scholarship to this challenging corpus of Rubens’s copies and
adaptations.
Jeffrey Chipps Smith
University of Texas, Austin
Jeremy Wood, Rubens. Copies and Adaptations from Renaissance and Later Artists: Italian Artists. I. Raphael
and His School (Corpus Rubenianum Ludwig Burchard,
Part XXVI [2]). London: Harvey Miller Publishers (an
imprint of Brepols Publishers, Turnhout), 2010, 2 vols.,
I: 448 pp, 28 b&w illus., 16 col. pls.; II: 269 pp, 263 b&w
illus. ISBN 978-1-905375-39-4.
In the past eleven years the Rubenianum has been forcing
the pace. It managed to bring out no less than five volumes of
the Corpus Rubenianum Ludwig Burchard, whereas only two had
been published in the previous decade. That all three tomes (in
six physical volumes) by Jeremy Wood were published within
the past 18 months must be another proud moment for the editors. And what excellent volumes they are, indeed, because the
subject of this book set is a difficult and often elusive one.
As the title reveals, Wood’s volumes are devoted to Rubens’s copies, adaptations and retouchings on canvas or paper
of various works by Italian Renaissance artists. The first volume, reviewed here, concentrates on Raphael and his school,
the second on Titian and North Italian artists (reviewed below)
and the third on Michelangelo and Central Italy (to be reviewed
in the next issue). A separate volume on Rubens’s relationship
with French artists or those Italian artists, like Primaticcio, who
worked at the French court, would have meant squandering
and is therefore included in Part III.
Of course, Wood did not write these volumes in 18 months.
That Rubens drew heavily on Italy is not only a fitting pun
(referring to the artist's debt to Italy as well as to his practice of
literally drawing on other artists' works) but also a reminder
that the author has long been working towards these volumes.
He has been publishing on the subject since the 1980s and
considerable preliminary work was done in preparation for the
exhibition Rubens. Drawing on Italy (Edinburgh and Nottingham 2002) which Wood curated and which first demonstrated
this peculiar aspect of Rubens’s art. Most texts from this exhibition have been incorporated into the present Corpus volumes in
expanded versions. Further publications by Wood are updated
and corrected here. His article on Rubens and Raphael (Munuscula Amicorum. Contributions on Rubens and his Colleagues in
Honour of Hans Vlieghe, ed. by Katlijne Van der Stighelen, Turnhout 2006, I, pp. 259-282) constitutes the core of the entries on
Rubens’s copies after Raphael’s cartoons for the Sistine Chapel
(Nos. 22-28) which is yet again a revision of his Mucius Scaevola
article of 1989 (Mercury, No. 10, 1989, pp. 26-40).
The 100-page strong introduction precedes the catalogue
entries (Raphael 1-47, Giulio Romano 48-80, Polidoro da Caravaggio 81-97, Perino del Vaga 98-102, rejected attributions R1R35), to which one has to return when reading Parts II and III.
Wood moves, always chronologically, from the smaller section
of painted copies (with a special subdivision on works after
Titian in Vol. II) to the drawn and retouched drawings. His
text is complex yet lucid, instructive, never condescending in
his corrections, written with a good deal of humour, especially
when grappling with Renaissance astronomy. He gives detailed
descriptions of Rubens’s technique, beautifully describing the
characteristics of his style, his manner of copying and retouching, guiding us through the works of and literature on Raphael
et al. along the way. Due diligence was exercised to record the
lost art works, and the extensively researched provenances and
literature will most certainly be up to date for some time.
Rubens owned a great many drawings of top to bottom
quality by or after Italian artists and he was not afraid to lay
hands on pedestrian copies as well as original compositions.
Over the past fifty years it has increasingly become the understanding of the Rubenianum and the authors of the CRLB that
Rubens copied and retouched in copious amounts. This is underlined by the fact that no less than five parts (twelve physical
volumes to date) are devoted to copies and adaptations of the
antique and other art (see also the review of Rubens’s copies
after northern art above). The method of appropriating the skill
to paint like an Italian artist of the past, to emulate a style and
the wish to correct and even to improve the works of others
have long been accepted phenomena exercised by Rubens.
Accounts of this go back as far as Giovanni Pietro Bellori’s life
of the artist (1672) and have had many reiterations since (pp.
27-30). Collectors were aware of it. The Dutch collector Valerius
Röver (1686-1739), for example (p. 201), owned a grisaille on
paper of a border scene after one of Raphael’s tapestry cartoons
which was reworked by Rubens (now lost), and Pierre Jean
Mariette (1694-1774) identified Rubens’s intervening touches in
an inscription on a mount of a drawing of the Vision of Ezekiel
(No. 31).
Rubens was heavily prejudiced towards sixteenth-century
Italian artists and with few exceptions showed little interest in
fifteenth-century or contemporary artists. His inventory lists
a great number of paintings after Raphael and Titian, most of
which he had copied himself. Raphael’s influence on Rubens is
particularly palpable in the paintings of his large cycles (Decius
Mus, Constantine and Achilles), although Rubens refrained from
copying the Italian master too closely (p. 202). He had an obvious interest in Giulio Romano to whose work he was exposed
in Mantua every day.
Rubens’s motivation to copy paintings was mainly to
understand the genesis of compositions and the techniques employed (p. 27ff), but the methods acquired during the process
made it possible for him to develop his unique style and to become one of the most sought-after artists in Europe at the time.
His drawn copies after antique works were all done in Rome,
at least partly the result of his frustration with the poor quality
of the existing obtainable drawings and prints after classical
works of art (pp. 63-77). In contrast to his copies after paintings
and frescoes seen in Italy, which are varied in size, medium
and technique, the copies after antique works represent a fairly
homogenous group as they were all done in black chalk.
As mentioned above, the largest group of copies after
Italian Renaissance works, however, are not copies in the strict
sense but works by other artists retouched by Rubens. These
drawings are certainly the most difficult group to assess.
Grounded on the style of the retouchings, Wood’s introduction convincingly establishes a baseline for the arguments
brought forward in the catalogue entries. Rubens’s incentives
to retouch, enlarge or modify drawings are diverse and he
did so, as Wood argues, throughout his entire career (p. 77ff).
Although Rubens was not always consistent in when and why
he retouched drawings by other artists, his distinct manner and
style can be paralleled with his development as a draughtsman
(p. 82). The earlier examples show an interest in adding greater
clarity of detail, expression or texture to an arrangement. Positioning a figure in space and making it livelier through correcting facial expressions were important features to him. Towards
the end of his life he would quite heavily modify copies of
lesser quality to make them his own: impatiently and with a
broad brush he applied changes to satisfy his urge to correct
draperies, limbs or outlines (p. 83). However, before moving on
to the retouched drawings which constitute the largest group
of works in the book, it should be noted that of the painted
copies after Italian models, Wood eliminates two of four early
works from the 1590s, the Bacchanal with Silenus after Andrea
Mantegna and Adam and Eve after Marcantonio Raimondi (after
Raphael), now both attributed more firmly to Otto van Veen (p.
31ff).
As Christopher White notes in his review of the second
volume of Wood’s trilogy (Titian and North Italian Art, see
below), the trend in the 1960s of attributing copies after other
artists’ works to Rubens was counter-balanced in the late 1970s
by Anne-Marie Logan and Egbert Haverkamp-Begemann
who recognized that many of the drawings were indeed by
other artists – often anonymous copies after Italian works –
retouched by Rubens. This was an important discovery, duly
acknowledged by Wood (p. 82). Logan’s and HaverkampBegemann’s preliminary efforts are here carried further with
considerable rigour and meticulousness. Besides recognizing
many sheets previously published as entirely by Rubens – a
drawing after Raphael’s Psyche offering the Vase Containing Water
from the River Styx to Venus (No. 43) being a prominent example
– as retouched works, Wood seriously reconsiders the dating
of these retouched drawings, which (if recognized as reworked
sheets at all) generally had been placed in the past to the artist’s
Italian years, 1600-1608.
Some of the revised dates of Rubens’s interventions seem
particularly striking: the retouchings on a copy after Raphael’s
The Prophets David and Daniel with an Angel (No. 32) were dated
to the artist’s first visit to Rome (1601-02) by Anne-Marie
Logan (Logan – Plomp, Rubens. The Drawings, Metropolitan
31
Museum of Art, 2005, pp. 16, 305-306, No. 114), whereas Wood
places them to the beginning of the 1630s by means of stylistic
comparison. The three drawings after Raphael’s Transfiguration
(Nos. 36-38) have previously been dated to Rubens’s second
stay in Rome (1604-1605, or more generally 1600-1608), but are
here dated to different periods: No. 36 to the artist’s late Italian
years or shortly after his return to Antwerp in 1609; No. 37
between 1617 and 1628, and No. 38 ca. 1620. Ingeniously, Wood
arrives at these dates by comparing the retouches on drawings
with those found on modelli for engravings after Reubens's own
compositions which can be dated.
I would have liked to disagree with Jeremy Wood once
in a while, but really there is little reason to do so. In general
his datings are sensible and convincing, although it does not
always become entirely clear why Rubens would have introduced retouchings at certain points in time. There are only
minor comments to make. A drawing by Polidoro da Caravaggio (sometimes attributed to Peter de Kempener) of Saint Paul
the Apostle, retouched by Rubens (No. 97), bears an inscription
of the artist’s name. Elsewhere (Die Beischriften auf den Handzeichungen des Peter Paul Rubens, PhD dissertation, Hamburg
2008, p. 88, no. 3; forthcoming) I have argued that the inscription is not by Rubens, an opinion I still hold. On a drawing of
Two Trophies of Arms (No. 85) after Polidoro, also retouched and
annotated by Rubens, the inscription is clearly by the artist. The
letters on the Saint Paul sheet simply do not match the latter
inscription. The ‘o’s in ‘Polidoro’ are handled rather feebly and
other letters are too crooked for Rubens’s usually very smooth
and beautiful script. Placing the inscription beside a contemporary letter from 1618 – a good example is Rubens’s letter
to Frans Sweerts in the British Museum – and assuming the
inscription on the Saint Paul would have been done at the time
of the retouchings (1617-1623), it becomes hard to defend that
the two annotations should be by the same hand. I am happy
to agree that the retouchings were done by Rubens, but the
inscription was not.
On a more general note it still has to be lamented that there
could not have been more colour images in this tome. Black
and white illustrations are the standard in all CRLB volumes
and colour images were only introduced recently. Like all others, this book set has eight pages (16 plates) of color images
each. Rubens’s (more subtle) retouchings on drawings as well
as on paintings do not lend themselves well to the black and
white medium. The corrections blend in too well with the
original, which is, of course, what Rubens wanted in the first
place. Digital imagery was well employed here to increase the
contrast on many images to make the retouchings on drawings
more legible. It is, however, impossible to discover reworked
areas in painted copies. Wood is cautious enough not to insist
that such corrective work has taken place on a series of painted
copies by Pietro Facchetti after Raphael and accepts claims
from literary sources, but therefore ends up with around fifteen
catalogue entries as weighty ballast (Nos. 7-21, 35).
Jeremy Wood will in future be notoriously known as the
man who contributed three quarters of a million words to the
Corpus Rubenianum and moreover for turning this large number
of words into such a pleasant and inspiring text to read. Arnout
Balis and his colleagues on the editorial board are determined to
complete the 29 volume series in the next nine years until 2020.
It will need major group effort to achieve this, as the (partly)
remaining 15 subjects are divided into yet another 20 volumes.
Veronika Kopecky
Warburg Institute
32
Jeremy Wood, Rubens. Copies and Adaptations from
Renaissance and Later Artists: Italian Artists. II. Titian
and North Italian Art (Corpus Rubenianum Ludwig Burchard, Part XXVI [2]). London: Harvey Miller Publishers (an imprint of Brepols Publishers, Turnhout), 2010,
2 vols., I: 443 pp, 4 b&w illus., 16 col. pls.; II: 231 pp, 223
b&w illus. ISBN 978-1-905375-40-0.
Such is the richness of the material and such is the depth
of the exegesis, it has taken Jeremy Wood three volumes of
text and three of illustrations, more than any other part of the
Corpus Rubenianum Ludwig Burchard, to cover the subject of
Rubens’s copies and adaptations from Italian Renaissance and
later artists. Raphael and his school appeared last year (see the
review above) and Michelangelo et al. came out this year (to
be reviewed in the next issue). But in the present two volumes
the subject is North Italian art, stretching chronologically from
Donatello’s high altar in the Santo, Padua (103), which Rubens,
such was the sculptor’s low reputation at the time, seems to
have thought was by Pirro Ligorio (!), to Annibale Carracci’s
Farnese ceiling in Rome (164). And at the heart of the catalogue,
we can celebrate what can be called one of the great artistic
love affairs: Rubens and Titian. But it is, as Wood is at pains to
tell us, a much more subtle relationship than a simple tale of
lover and beloved. And what an affair it is; above all the large
canvases, devotedly and inspiringly copied, after the poesie and
the Adam and Eve. Contemplating the original and the copy of
the latter subject (111), which hang in proximity to one another
in the Prado and which, I am told, will hang side by side in the
proposed new display, one can only echo the words of Captain
McHeath in the Beggar’s Opera: ‘how happy I would be with
either, were t’other fair charmer away’.
Since the book under review represents work in progress,
the ground rules have already been established in the very first
volume, which contained the lengthy introductory essay to cover the whole subject of Rubens and Italian art and which must
be re-read when studying the present volumes (see the review
above). But, given the centrality of the subject, Wood here adds
a much shorter introduction on Rubens and Titian. It is remarkable how each of the sixty-two works under discussion in these
two volumes – painting or drawing – poses its own particular
brand of question, demanding answers as far as they can be
given, for much is unknown or debatable. Being the thoroughgoing scholar he is, Wood dilates whenever opportunity
knocks, producing a ‘double-whammy’ of a catalogue, which
covers both original and Rubens’s copy in abundant detail. One
learns nearly as much about his Italian models as about Rubens
himself, such, for example, as Domenico Campagnola’s drawings or the qualities of Sophonisba Anguissola’s portraiture.
Reading the catalogue straight through, which may well be not
how most people will use it, reveals a good deal of repetition,
particularly between introductory essays and related entries,
but given the sheer volume of matter we are presented with,
this may be desirable for the sake of clarity. Wood is straight in
expressing his opinions, disputing without the hauteur or rancour, which has not always been the case with Rubens studies.
He is a connoisseur of meaningful minutiae, ultimately piecing
together an overall image of the artist, like a builder assembling
a vast edifice from a myriad of small bricks. Offering a rich and
varied diet of information and ideas, these volumes are to be
consumed slowly, entry by entry.
It has to be admitted that there is one editorial irritation.
Artists are arranged chronologically by region, and not alphabetically throughout; running titles are limited to catalogue
numbers, and do not give artist’s names. Thus, unless you have
birth dates and regions of activity of each artist clearly in mind,
it is extremely difficult to find with ease a particular artist
among the 374 pages of text. What is required is just one page
listing artists with catalogue numbers, placed at the beginning
of the volume; to overcome frustration, I compiled my own index, which I print below, since it reveals the range of the artists
studied by Rubens.
fair to say, as Wood does, that Logan preceded him in a number of his conclusions, he has been taken this new approach
considerably further. (Although of a like mind in this respect,
they don’t always agree.) What is offered in these volumes
represents a basic change in how we see Rubens in action with
the art of others. A detailed copy line for line is a much more
laborious activity than reworking an existing drawing, and
Wood cannot be faulted, when he points out that “if all the
Italian copies that have been attributed entirely to Rubens were
made during his Italian travels then he must have worked at
feverish speed.”
As one would expect, painted copies form a smaller
part of the works under consideration. These include one by
Mantegna of a Roman Triumph (104), done not from the latter’s
originals but probably from painted copies in Rubens’s possession; one by Parmigianino of Cupid Shaping His Bow (157), a
re-interpretation, which he clearly felt justified in signing it as
his own work. (It is among a group of pictures dated 1614. Why
he should have only followed this practice for this one year
has never been satisfactorily explained.) And four copies of
portraits: by Tintoretto (148-9), only details of heads, Veronese
(152) and Sophonisba Anguissola (161).
In these volumes only eight drawings are credited entirely
to Rubens, those after Mantegna (105) and Pordenone (143-4),
done in Italy, and those after Titian, one done before going
to Italy (120), one, only attributed, in Italy (126), and three
in the late 1620s (114-5 and 123). The remaining twenty-five,
almost without exception claimed as entirely by Rubens at one
time or another by other scholars, are here catalogued as only
retouched. These include such well-known and long-accepted
sheets as the Standing Robed Man (154; Louvre, Paris) after a
figure in Correggio’s fresco in the Duomo, Parma, Abraham
Sacrificing Isaac (110; Vienna, Albertina) after Titian’s painting
now in Santa Maria della Salute, Venice and Silenus Carried by a
Satyr and Two Fauns (108; Louvre, Paris), copied after the central
section of Mantegna’s engraving of Bacchanal with Silenus. (We
now know that Mantegna did not engrave his own designs, but
secretly handed them over to a certain Gian Marco Cavalli to
carry out this work for him; see A. Canova in: Italia Medioevale
e Umanistica, Padua, XLII, 2001, pp. 149-79 and summary in
Mantegna, exh. cat. Paris, Musée du Louvre, 2008, pp. 237-41.
Given his attitude to prints, it is unlikely that Rubens would
have been disconcerted by this surprising and, to most scholars, disturbing revelation.)
But, as already said, the largest number of painted copies
under discussion are after Titian – and these provide puzzles
both of interpretation, as well as such details as to exactly from
what and where Rubens made his copies. Is it an interest in
Titian’s form or content which is uppermost in Rubens’s mind?
And if the former, why does he sometimes religiously copy
Titian’s technique and on other occasions paint like himself?
(Wood gives a close analysis of painting technique, blessedly
free of ‘conservator-speak’.) Of those works copied in Madrid
in 1628, the Philip II (137) follows Titian closely, while Adam and
Eve (111) is painted very much in his manner. Sometimes he follows the subject without change, and on other occasions varies,
producing theme and variations, such as removing the homoeroticism in the behavior of the putti in the Worship of Venus, by
changing those on the receiving end of the darts into girls, not
forgetting to remove their wings. And getting down to details
of provenance, there is the unresolved question of what Rubens
was working from, since he could not have made his copies
directly from Titian’s originals of the Andrians (118) and the
Worship of Venus (119). The best guess, and it is no more than
that, is that he worked from copies made by Van Dyck when
he was in Italy and brought back to Antwerp. The whereabouts
of the various versions of the poesie are a provenance-hunter’s
delight, leaving some unanswered questions, such as what was
the Diana and Callisto copy by Rubens after Titian, listed in the
Commonwealth sale of Charles I’s collection? And finally there
is the question, encompassing all the artists under discussion
and fully explored by Wood, of what use, if any, Rubens made
of the copied works in his own paintings.
Turning to the drawings in the catalogue, one immediately
becomes aware of the new approach to deciding what Rubens
actually copied line for line and what he only retouched. In the
1960s, when Rubens’s studies of other artists attracted scholarly
attention – Michael Jaffé played a key role in this aspect of the
artist’s activities – it was generally believed that he copied more
often than he confined himself to retouching. In the introduction in the first volume, Wood points to a change in attitude
beginning with Egbert Haverkamp-Begemann and Anne-Marie
Logan in 1978 (Revue de l’Art, pp. 89-99) who proposed that the
situation should be the other way round, and even if it is only
If deciding between what is copied and what is only
retouched, an activity which often can only be satisfactorily
carried out in front of the original, is difficult, the dating of
Rubens’s retouching is, with less to go on, even more so. In the
past opinions have greatly varied, with the predominant view
that such work was largely confined to the artist’s early years,
especially when he was in Italy. Wood, however, argues that
this was an activity which should be spread more evenly over
his whole career. He, for example, places Rubens’s reworking
of both Giuseppe Porta’s drawing of the Presentation of Christ
in the Temple with Saints (150), in the Institut Néerlandais, Paris,
and of the Virgin and Child with Saints after Correggio (153), in
the Albertina, Vienna, in the 1630s, whereas other scholars have
seen them as dating from the beginning of the artist’s career
during his stay in Italy.
For the record, Wood provides full catalogue entries for
seventeen lost paintings after Titian (pp. 278-323), which, with
three exceptions, were in the artist’s possession at his death,
one retouched Bassano (pp. 335-338), the subject of an unhappy
exchange between the artist and Sir Dudley Carleton, and two
after Correggio (pp. 376-386), copied for the emperor Rudolf
II. The text volume concludes with a summary, unillustrated
account of twenty-eight drawings, which, unlike other scholars,
primarily Jaffé, he believes have nothing to do with Rubens.
Wood can be congratulated on having produced a very
distinguished piece of research. Where connoisseurship is concerned, there may remain, given the impossibility of certainty,
33
differing opinions, but there is no question that the art historical groundwork has been superbly carried out.
Christopher White
London
List of Artists with Catalogue Numbers
Donatello 103; Mantegna 104-108; Giovanni Bellini 109;
Titian 110-143; Pordenone 143-144; Domenico Campagnola 145;
Battista Franco 146; Tintoretto 147-149; Giuseppe Porta 150;
Veronese 151-152; Correggio 153-154; Bernardino Gatti 155; Parmigianino 156-157; Passarotti 158-160; Sophonisba Anguissola
161; Annibale Carracci 162-164.
Aneta Georgievska-Shine, Rubens and the Archaeology
of Myth, 1610-1620. Visual and Poetic Memory. Farnham
(Surrey)/ Burlington (Vermont): Ashgate, 2009. ix, 223
pp, ISBN 978-0-7546-6771-1.
In his famous letter of 12 March 1638 to Justus Susterman,
a painter to the Florentine court, Rubens concluded his long
explanation of the iconography of his Horrors of War by noting that he had already clarified far too much of the painting
“because with your [Susterman’s] sagacity, you will have understood it easily.” Aneta Georgievska-Shine uses this citation
in the present book, which is based on her 1999 dissertation,
to verify her interpretation of four mythological paintings, all
executed by Rubens between 1610 and 1620. Although Rubens
wrote his letter almost two decades later, the author believes
it provides the proof that when illustrating the subject of a
particular myth he inserted extensive literary and inter-textual
references, giving the work a more far-reaching significance.
In her analysis, Georgievska-Shine exposes a tightly knit web
that connects the myths, their various main and secondary
narratives and other associations, all of which presented as
an intricate intellectual game constructed by Rubens for his
erudite clients. The concetti of his imagery bare not however
based solely on such literary connections between the mythological figures but through the use of principles of construction
derived from rhetorical figures.
Rubens scholars have long been fascinated by the four
paintings under discussion here – Prometheus Bound (Philadelphia Museum of Art), The Abduction of the Daughters of Leucippus
(Munich, Alte Pinakothek), Juno and Argus (Cologne, WallrafRichartz-Museum), and The Finding of Erichthonius (Vienna,
Prince of Liechtenstein Collection). These have already been
studied by – among others – Svetlana Alpers (Journal of the
Warburg and Courtauld Institutes 1967) and in my own PhD
thesis, published as Peter Paul Rubens’ bildimplizite Kunsttheorie
in ausgewählten mythologischen Historien (1611-1618) in 2005 (see
the review in this Newsletter, November 2006). Thus, while the
ancient and contemporary textual and pictorial sources of these
works and their links to rhetorical principles have been variously studied, Georgievska-Shine claims to have developed a
new analytical method that facilitates detection of inter-textual
structures in Early Modern painting. Reading her work, one
cannot but be impressed with her knowledge of texts and
her philological erudition as well as the rigor with which she
applies her method. Her detailed study of the literary as well
as secondary sources as mythographical texts brings to light
homonyms or words constructed from the same word stem
(formo-formosa-formosissimam), for example in inscriptions on
34
engravings and in ancient texts, which in her view originated in
a deliberate and not random manner. She parallels structurally
similar events from different but contextually related myths
and even manages to support her argument by using the contextual sequence of mythological episodes in ancient texts and
to link those structural relationships to rhetorical figures. All
this sounds quite abstract – and, in fact, in many passages the
discussion resembles a philological rather than an art-historical
analysis. Sometimes one wished the author had related her
findings more closely to the paintings themselves and to have
applied more conventional art-historical tools such as style,
paint application and pictorial genesis. The pictures hanging in
museums are of far less interest to Georgievska-Shine than their
complex backgrounds and what associations their conceptual
structures may have inspired in those familiar with the writings
of ancient and contemporary authors, scholars, clergymen,
mythographers and art theoreticians.
Georgievska-Shine’s study of the Abduction of the Daughters
of Leucippus demonstrates the complexity of her ‘subtexts.’ Going beyond long-established connections to Michelangelo’s figures of Night and Leda or Titian’s Danae and Venus in Venus and
Adonis (both Prado), and the implied references to the disegnocolorito debate as well as the question of the ideal artistic style,
the author proposes a new explanation for Rubens’s choice of
these particular figures as his visual sources. She persuasively
argues that in addition to providing suitable poses, both the
Leda and Venus figures were appropriate because of their
special contextual connection to the myth: Leda is the mother
of the two abductors Castor and Pollux and ‘formally’ mother
of the abducted Hilaria in the center. Equally significant are the
literary, structural and contextual analogies that connect the abduction by the Dioscuri and the abduction of their sister, Helen
of Troy. Georgievska-Shine thus leads the reader to the image’s
meta-level, which is primarily about abduction (as a type of
imitatio) and beauty, and in the final analysis about the question
of artistic originality. This short summary insufficiently conveys
the complexity with which the author goes about her de-construction of the painting’s multifaceted contextual allusions and
formal connections. My own analysis of the Munich Abduction
interpreted the image as an expression of Rubens’s reflection on
the paragone between painting and sculpture and the question
of what constitutes the ideal style, exemplified in the rivalry
between Michelangelo and Titian and their respective works
Leda/Night and Danae. Georgievska-Shine on the other hand
considers Rubens’s artistic imitation was primarily driven by
the literary metaphor of abduction. What is interesting is that
we both arrive at the same conclusion about Rubens’s image
of himself – namely that he was concerned to convey his own
artistic brilliance and ingenium.
The conclusions Georgievska-Shine draws for the other
three works can only be summarized here. In Prometheus Bound
Rubens explores what constitutes good imitatio, which in the
literary and artistic meta-levels also relates to the artist’s ingenium. Rubens is concerned with prompting the viewer’s reflection on his own deliberations about the possibilities of achieving artistic progress even when utilizing the same forms or
contents which are found in earlier depictions, and to present
his ‘result’ in his painting – in other words: to breathe new life
into a centuries-old theme or motif. Though Prometheus’s pose
derives from Michelangelo’s Tityus, who was punished for his
greed, Rubens’s figure symbolizes the saved soul and embodies
the heroic virtues of constantia, fortitude and prudentia.
The contextual connection between Rubens’s Juno and Argus and Franciscus Aguilonius’s book on optics has been much
discussed, but whereas other authors have argued Rubens’s
image ‘illustrates’ the Jesuit’s text, Georgievska-Shine proposes
a more differentiated view, demonstrating that Aguilonius first
cites extensively from ancient authors so as to establish himself
as a philologically erudite scholar. She then suggests that the
reading of these texts as well as medieval and contemporary
interpretations of individual figures in Aguilonius’s book may
have inspired Rubens to also address the complex issues of
light and color, but from an artistic rather than scientific angle.
In her opinion, Juno and Argus is a painterly analogon to Aguilonius’s text since Rubens drew on the same literary source as
the Jesuit.
Last but not least, Georgievska-Shine examines The Finding of Erichthonius, which she considers one of Rubens’s most
complex inventions (see also her article in The Art Bulletin 86,
2004, pp. 58-74). She interprets the child with snake legs as personifying the generative power of nature and believes Rubens
primarily conceived the depiction as a demonstration of his
ability to interpret myths allegorically. Julius Held (Zeitschrift
für Kunstgeschichte 39, 1976, 34-45) already pointed out that
Rubens set out to rival Ovid’s Metamorphoses by depicting two
separate incidents described by the poet and by referring to
a third: Juno adorning the peacock’s tail. Georgievska-Shine
goes further: she sees motival parallels to the discovery of
Moses and the writings of St. Augustine, which in turn create a
typological connection between the Attic bringer of law and his
Jewish counterpart, thereby referring to the earthly respectively
heavenly realm. Rubens is concerned in the painting’s metalevel to show that the poetic and fable worlds are integral parts
of the Christian world view since they already embody the
truth of Christianity.
The merit of this study lies in the author’s ability to
exemplify that in some of his mythological works Rubens
generates motival and structural trains of thought which he
then weaves together in an artistic and profound manner in
order to expose meta-levels of the myth. These allow him to
reflect on the conditions and possibilities of (his own) creative
process. Georgievska-Shine demonstrates that she is an erudite
and intellectual interpreter of Peter Paul Rubens as a scholarly
painter. Taking this view, she is able to uncover a meta-levels of
meaning and interpretation not detected before. In reading her
study one can sense the delight learned viewers may have felt
in following up the literary and motival threads Rubens had
construed in these mythological paintings. However, referring
to more art-historical questions and issues concerning these
works might have strengthened Georgievska-Shine’s arguments, offsetting the potential criticism that her arguments are
too abstract and philologically far fetched, leaving behind true
art-historical investigation.
Eveliina Juntunen
University of Bamberg
Translated by Fiona Healy
numerous illus. ISBN 978-3-942359-00-9 (German); 9783-942359-00-3 (Dutch); 978-3-942359-00-6 (English).
This richly documented catalogue, which was published
in three languages, accompanied the exhibition organized in
2010-11 by the ‘Forum der Draiflessen Collection’ in Mettingen.
The Draiflessen Collection was established in 2009 by the Dutch
Brenninkmeijer family, founders of the international clothing chain C&A, in order to preserve and relate the history of
the family and its business, but also to mount internationally
attractive exhibitions in its new purpose-built museum. Credo
was the first such exhibition and, as is made clear in the preface
to the catalogue, the theme of the visualization of prayer is one
that accords with the devoutly Catholic faith of the Brenninkmeijer family.
The nucleus of the exhibition, conceived by guest curator
Ursula Härting, was the Cumberland Apostle Series (Stansstad,
Switzerland, Private Collection), consisting of thirteen halflength depictions of Christ and the Twelve Apostles, each of
whom represents one of the twelve articles of the Christian
Credo. The set was painted in Rubens’s workshop in the late
1610s or earlier 1620s, and according to the organizers of the
exhibition, the master himself was partially involved in its
execution, a point of view which has not convinced the author
of this review. The Cumberland Series is one of several sets
executed after the famous editio princeps painted by Rubens
shortly after 1610 and known as the Apostolado Lerma, after the
Duke of Lerma who acquired the series between 1614 and 1618
and which is today in the Prado in Madrid. The Cumberland
Series owes its name to the fact that in 1917 this set was owned
by Ernst-August of Cumberland, the last Duke of Brunswick
and Lüneburg.
The lasting value of this lavishly edited book lies in its
detailed status quaestionis, not only of the Rubens series but of
the Apostolado subject in general as well as many other aspects
related to prayers such as the Our Father and the Rosary, all of
which are discussed in the 154 catalogue entries. In addition,
ten essays by various authors – Ursula Härting, Alexandra
Dern, Markus Vinzent, José Juan Pérez Preciado, Letizia Ruiz
Gomez, Ulrich Heinen, Léon Lock, Christian Hecht, Moritz
Jäger and Stefanie Thomas – provide a wider focus and examine many different iconological and typological aspects of the
representation of apostles, and thereby also illuminate the great
influence of Rubens’s series, which inspired the artistic production of a younger generation of important Antwerp Baroque
artists, including Anthony van Dyck, Artus Wolffort, Jacob
Jordaens and Gerard Seghers. But the essays also address other
very different questions, from the use and purpose of statues of
the apostles in Southern Netherlandish churches to artistic depictions of The Rosary in the fifteenth to seventeenth centuries.
This is a standard publication and it may be clear that any
further research of this particular and very important aspect of
Christian iconography will greatly benefit from this important
book.
Hans Vlieghe
Antwerp, Centrum Rubenianum
Alexandra Dern and Ursula Härting, eds., Credo.
Meisterwerke der Glaubenskunst. [Cat. exh. Mettingen,
Draiflessen, October 16, 2010 - January 9, 2011.] Mettingen: Forum der Draiflessen Collection, 2010. 320 pp,
Tragically, Alexandra Dern passed away on August 29, 2011.
She was only 43.
35
Seventeenth-Century Dutch
Daniela Hammer-Tugendhat, Das Sichtbare und das
Unsichtbare: Zur holländischen Malerei des 17. Jahrhunderts, Cologne, Weimar, Vienna: Böhlau Verlag, 2009.
337 pp, 144 color illustrations (including monochrome
prints), 14 full-page color plates, ISBN 978-3-412-204464.
Daniela Hammer-Tugendhat’s choice of title for her book,
The Visible Becomes Invisible: Dutch Paintings of the 17th Century
suggests two quite literal characteristics of seventeenth-century
Dutch genre and history painting. Part One, “The Visible
Becomes Invisible: Gender Construction in Rembrandt” is
explicitly situated within the context of gender studies while
Part Two: “Something Invisible Becomes Visible: Painting,
Not mimesis” is devoted to subjectivity as that which becomes
visible in genre painting of the last third of the seventeenth
century.
Part One demonstrates the invisibility, though not
disappearance, of the male protagonist in depictions of sexual
encounters in works of Rembrandt; the female protagonist’s
body becomes the site and the apparent subject of sexuality.
Focusing on scenes of seduction, coercion, sexual intercourse,
and desirous expectation in Rembrandt’s paintings – Susanna,
Bathsheba, Lucretia, Danaë, a woman in bed, and Potiphar’s
wife – the author argues, in partial agreement with Mieke Bal
and others, that Rembrandt granted his female protagonists
interiority and subjectivity; indeed some of them positively
valued sexual desire. However, Hammer-Tugendhat also
emphasizes that such granting necessitated Rembrandt’s
replacement of the male protagonist by the mere indication
of his presence as disembodied light, notably in the Danaë.
She links this “invisibility” to a patriarchal gender economy
framing and containing female subjectivity such that it
produces a gendered mind/spirit-body hierarchy and a model
of masculinity guarding the patriarchal order. Such a model
persisted, as Hammer-Tugendhat has argued elsewhere, even
to Gustav Klimt’s early career.
In Part Two, Hammer-Tugendhat explicitly attends to
questions of methodology, now grounding her stance on
mimesis in the task to overcome the word-image opposition
without demoting either’s importance. It is in this context that
she defines painting’s specific mediality (“Medialität”), another
term she uses throughout her book, as a material mediality.
Accordingly, art-historical methods primarily binding paintings
to text sources or a linguistic sign structure cannot claim to
encompass how painting communicates meaning and sustains
or even produces realities such as gender constructions.
Throughout her book the author insightfully explores what
she calls “aesthetic staging” (“ästhetische Inszenierung”).
Vehemently arguing not only against the outdated notion that
Dutch art imitates life in the nineteenth-century Realist sense,
but also against any mimetic function in Dutch painting at all,
she nevertheless assumes an a priori something thus staged.
This is a model of theatrical production but, arguably, also one
of mimesis. She furthermore asserts that a painting, or one of its
aspects, “signals” (not “signifies”) something, such as a cultural
context, an ideological bias, a judgement, a meaning. Signaling
suggests an intention, in addition to a function. Here explicit
36
definitions of “aesthetic staging” and “signaling” as critical
terms supporting her position on mimesis would have been
helpful.
Part Two examines genre paintings by Frans van Mieris,
Gabriel Metsu, Gerard ter Borch, Johannes Vermeer and Samuel
van Hoogstraten that show or imply the presence of women
and include motifs such as the picture-within-the picture, the
mirror, and letter reading and writing – the latter offering
a counterpart to her discussion in Part One of Rembrandt’s
Louvre Bathsheba. Hammer-Tugendhat suggests that the
represented women in all works discussed stand in no positive
or negative mimetic relation to such motifs. Thus, in Frans van
Mieris’s Woman before the Mirror (1670), she sees two versions,
or identities, of the same woman, one, the mirror image,
showing her demure with folded hands as in conventional halflength portraiture, the other, the full-length Rückenfigur, facing
this mirror image provocatively posed with arm akimbo.
When Hammer-Tugendhat argues that genre paintings
contributed to the production of modern subjectivity, her
particular attention is directly to Spinoza’s concept of
immanence and to Descartes’ treatise on the passions. What
interests her here is the emergence of non-rhetorical and largely
non-theological concepts of affect, emotion, and imagination,
so as in turn to understand depictions of women’s domestic
lives which neither matched social reality nor presented either
positive or negative exempla. Thus, Hammer-Tugendhat’s
detailed demonstration, for example, of Ter Borch’s and
Vermeer’s feminization of introspection and of letter writing
and reading, entails that by the end of Part Two the reader
is presented with gender-neutral early modern concepts of
subjectivity that can become gender specific in art. At the
same time, Part Two, unlike Part One, opens itself to the
interpretive indeterminacy, ambiguity and multi-valence of
artistic representation. Hammer-Tugendhat leaves it to the
reader to mediate her discussion of the Dutch group portrait,
group identity, power and masculinity in Part One with her
discussion of women’s interiors, interiority, and “Affektwissen”
in Part Two, and thus also the relation between collective
gender construction and individual subjectivity in Dutch
painting, apart from Rembrandt’s oeuvre. While she rejects
simplistic, moralizing interpretations of female figures in
paintings as “verkürzt” (stunted) or arbitrary, she nevertheless
does not consider the Protestant theology of the image (as
opposed to that of a given representation). Might doing so
enhance an understanding of the role of gender in painting’s
mediality as such?
Das Sichtbare und das Unsichtbare often brilliantly goes
against convention, the historically possible, thinkable,
imaginable and imagable in art. However, perhaps more than
she recognizes, Hammer-Tugendhat’s emphasis on painting’s
material mediality resonates, rather than conflicts, with several
methodological approaches that consider the entirety of a given
painting, such as phenomenology, reception aesthetics and
certain practices of semiotics and psychoanalysis, all of which
by now have feminist practitioners attending to the material
and corporeal in art.
This book offers a wealth of observations, connections,
deeply knowledgeable iconography and interpretations based
on an impressive, comprehensive bibliography of especially
German, Dutch, and American scholarship. It introduces
discourses and studies not widely known, such as on affect
theory, gestural language, and Dutch baroque drama.
Throughout the book, Hammer-Tugendhat often points to very
specific opportunities for further research and exploration.
Before this can happen, however, one can only wish that her
book will have the readership it so well deserves and that
generally more of her work will become available in English.
Christiane Hertel
Bryn Mawr College
Jochai Rosen, Soldiers at Leisure, The Guardroom Scene
in Dutch Genre Painting of the Golden Age. Amsterdam:
Amsterdam University Press, 2010. 216 pp, 140 illus.,
including 105 in color. ISBN 978-90-8964-204-2.
Soldiers at Leisure, The Guardroom Scene in Dutch Genre
Painting of the Golden Age builds on Jochai Rosen’s dissertation
“Jacob Duck and the ‘Guardroom’ Painters: Minor Masters as
Inventors in 17th-Century Dutch Genre Painting, with a Critical
Catalogue of Paintings, Drawings and Prints by Jacob Duck”
for The Hebrew University of Jerusalem (2003), as well as on
several articles that he published in the next years. This is
true especially of “The Dutch Guardroom Scene of the Golden
Age: A Definition,” in Artibus et Historiae (2006). In the book’s
introduction, Rosen states that the point of his study is to “shed
light on one of the corners of seventeenth-century Dutch art”
that have remained in shadows. He seeks to identify the formulae developed for the guardroom scene, track its development
from city to city, generation to generation, explain its revival
by nineteenth-century European artists, and situate the scenes
against their cultural background.
To that end, he devotes the first chapter to setting out
the historical and artistic context for the guardroom scenes,
including sketching the image of the mercenary soldier and
the Flemish artistic tradition of plunder themes. The second
chapter discusses the roots of the guardroom scene in sixteenthand early seventeenth-century merry company representations,
concentrating especially on the paintings of Pieter Codde and
Willem Duyster, two of the most prominent Amsterdamers connected with this sub-genre. Once he has set out the birth of the
genre in Amsterdam in the first third of the century, he moves,
in Chapter 3, to the Utrecht variation. This type, he asserts,
merges Netherlandish brothel and Caravaggist tavern imagery,
finding its highpoint in the paintings of Jacob Duck. Here he
puts his dissertation research to good use, tracing Duck’s multifaceted development of the guardroom over the years, his effective use of still-life elements, and the comic or even blatantly
vulgar tone of the scenes. Occasionally, Rosen comments on the
paintings’ messages (or lack thereof), as in “Duck’s paintings
are not moral lessons but rather a tool to simplify their reading
and make them more comprehensible to the public.”
Chapter 4 looks at the civilizing of the guardroom scene
as the early seventeenth-century satirical handling of soldierpeasant confrontations gave way to a more “bourgeois” approach in mid century. It includes a brief, general comparison
of the civic-guard portrait with the guardroom scene and a
more detailed discussion of Rembrandt’s Nightwatch as “caught
between genres.” Rembrandt’s militia portrait, he asserts, drew
on the order-to-march formula devised for a subset of guardroom scenes – an important insight. The chapter concludes
with commentary on the guardrooms’ construction of class
divisions. Chapter 5 continues with the theme of the domestica-
tion of guardroom imagery mid-century and its spread to the
south of Holland. A final, useful chapter concerns the continuation of the guardroom scene into the eighteenth century, and
its revival in the nineteenth century both by Netherlandish
painters and especially by other Europeans.
A probing examination of the historiography of the guardroom theme would have been a welcome addition, as would
greater scrutiny of the complex relationships among artists,
their art, their audience, and contemporary politics. The author
might have given a more pointed analysis of the pictures as
political and socio-cultural constructions, including the impact
of literary stereotypes, the ways the pictures’ rhetoric sets up
viewers to respond, the ambiguities of meaning. Instead, the
book focuses mainly on the formal rhetoric, narratives, and
iconographical details of individual paintings, dividing the
scenes into sub-groups identified by artistic formulae. Its chapters begin with general comments on the historical background
and a succinct announcement of the chapter’s themes; the
author then proceeds to the individual artists’ biographies, followed by detailed descriptions of each of their paintings chosen
for inclusion. If argument and probing analysis are not the
book’s strong suit, laying out information is, and indeed a large
amount of research has gone into the study.
Readers intrigued by the topic would do well to return to
Rosen’s 2006 article, for there the author developed a focused
argument on the definition and characteristics of the genre and
the attraction of martialism for the seventeenth-century Dutch
buying public. The book remains a survey, buttressed by syntheses of the scholarship of other art historians. As such, it has
real value as a compendium of visual material and supporting
historical data. Especially useful are its large number of images,
105 of which are published in color.
Alison M. Kettering
Carleton College
Adriaan E. Waiboer, with Pieter Roelofs and Arthur K.
Wheelock, Jr., with contributions by Wayne E. Franits,
E. Melanie Gifford, Bianca M. du Mortier, Pieter Roelofs, Marijn Schapelhouman, and Linda Stone-Ferrier,
Gabriel Metsu, 1629-1667. [Cat. exh. National Gallery
of Ireland, Dublin, September 4 – December 5, 2010;
Rijksmuseum, Amsterdam, December 16, 2010 – March
20, 2011; National Gallery of Art, Washington DC, April
17 – July 24, 2011.] Dublin: National Gallery of Ireland
in association with Yale University Press, New Haven
and London, 2010. 210 pp, 154 color illus. ISBN 978-03001-6724-5.
Eddy Schavemaker, Eglon van der Neer (1635/36 –
1703). His Life and Work (Aetas Aurea, XXII). Trans. by
Michael Hoyle. Doornspijk: Davaco, 2010. 574 pp, 54
color, 342 b&w illus. ISBN 978-90-70288-18-4.
Genre painting, a secular specialty focusing on contemporary life, developed rapidly in the Dutch Republic, featuring
domestic scenes of an emerging middle class society. To nineteenth-century writers this form of painting was taken to be
simply a literal account of an earlier age, discussed, until quite
recently, in a superficial and sometimes condescending way,
37
even as prices for these works have soared. Eddy de Jongh’s
game-changing emblematic research and Svetlana Alpers’s
re-direction of thinking toward relationships between art and
science in the seventeenth century have both encouraged scholars to re-consider the significance of scenes of everyday life,
but also to reflect upon what this branch of art can reveal about
seventeenth-century attitudes toward painting itself.
In the wake of the major Vermeer exhibition of 1995-96
have appeared monographic exhibitions or studies on genre
painters less known to the general public including Jan Steen
(1996), Pieter de Hooch (1998), Gerrit Dou (2000), Caspar
Netscher (2002), Gerard Terborch (2004), and Frans van Mieris
(2005). The two volumes reviewed here – one on Gabriel Metsu
and one on Eglon Hendrick van der Neer – are both valuable
contributions that offer new information and thinking while
building on recent scholarship. In Adriaan Waiboer‘s exhibition volume which focuses on forty of the more than 130 extant
works by Metsu (followed by a catalogue raisonné announced
for late October), the reader immediately realizes the superb
quality of this artist’s handling of the brush, his capacity to
employ different kinds of facture, and his distinctive ways of
involving the viewer through capturing both external material
reality and internal psychological presence. Metsu’s creativity
in both genre and narrative scenes is shown to lie equally in
his artful emulations, appropriations and amalgamations of
subjects, formats and techniques from leading contemporaries
with such diverse approaches as Dou and Terborch. This strategy, the author argues, was intended to help Metsu compete
successfully within the Amsterdam art market after he moved
from Leiden in 1654.
Waiboer explores the artistic reciprocity between Metsu
and Vermeer, both of whom were influenced by Terborch. If
Metsu was inspired by Vermeer’s placement of forms and his
late use of abstracting brushwork, Vermeer in turn responded
to Metsu’s subjects and techniques, retaining his own distinctive touch. That Metsu’s paintings greatly superseded Vermeer’s in price and popularity throughout the eighteenth and
early nineteenth centuries is a potent reminder of how much
the taste of a period may sway assessment of an artist’s quality
or importance and how veneration for a particular artist (Vermeer in our time) can cast his colleagues into relative obscurity.
Additional excellent essays in the volume take up topics
relevant not only to Metsu but to Dutch art in general. Wayne
Franits’s consideration of luxury (building on recent publications by Jan de Vries) proposes looking beyond consideration
of luxurious objects as material goods for a growing consumer
culture to wider cultural practices like letter writing or even
the evolution in manners and art toward more genteel taste.
Linda Stone-Ferrier focuses on Metsu’s depiction of street
vendors and markets near his home in Amsterdam as related
to the powerful role of individual neighborhood organization
in promoting the comfort and stability of residential civic life.
Pieter Roelofs’s close investigation of Metsu’s early owners, which also explores the history of his reputation, notes
that having many patrons helps explain his departures from
labor-intensive techniques requiring extensive time. Technical
analysis is explored in detail in Melanie Gifford’s lucid essay
on Metsu’s varied (“eloquently imprecise”) painting techniques
and how they relate to those of his contemporaries. Bianca M.
de Mortier‘s essay on costume in Metsu’s paintings as related
to manners of the period goes beyond its fascinating lore about
dress and domestic articles (sewing cushions, beauty patches,
38
eyeglasses, etc.) to show how they can illuminate the lives of
their original users. Finally, Marijn Schapelhouman frames
discussion of Metsu’s rare drawings with broader observations
about the difficulties art historians have always encountered in
finding and evaluating artists’ drawings.
While the volume on Metsu could build on an earlier
exhibition catalogue (Leiden, 1966) and on Franklin Robinson’s
monograph of 1974, producing a text and catalogue raisonné on
Eglon Hendrick van der Neer must have seemed a formidable
task. Although his artistic importance had been recognized
from Houbraken on and in Smith’s and Hofstede de Groot’s
catalogues, no comprehensive account has been published in
more recent times. Far more than Metsu, Van der Neer was a
borrower and appropriator during a long life that took him
to France, Amsterdam, Rotterdam, The Hague, Brussels, and
ultimately to the Elector Palatine’s court at Düsseldorf. Like
Metsu, he also produced portraits and history paintings as well
as landscapes. Yet because he lived until 1703, more than thirty
years beyond Metsu, his career extended far into that murky
and difficult terrain of later Dutch art. During this period the
quality of paintings commonly shows a marked decline – especially for artists attempting to continue styles and subjects that
had flourished during the middle decades of the seventeenth
century. Van der Neer’s celebrated pupil Adriaen van der Werff
would later complain that his teacher had retarded his success
by teaching him an old fashioned “modern manner” rather
than the fashionable new “Italian manner.”
This closely researched volume, which approaches 600
pages, is divided into ten chapters which cover the artist’s life
(I); early influences of Metsu, De Hooch and Terborch (II); Van
der Neer and Frans van Mieris (III); Van der Neer and Van der
Werff (IV); history paintings (V); two chapters (VI and VII) on
the “elegant” and “emblematic modern” (the latter are small
paintings from the 1670s inspired by earlier emblem books
and moralizing prints); portraits (VIII); landscapes (IX); and
critical fortunes (X). Four appendices include material about
genealogy, documents, reproductions of early printed sources,
and a catalogue of Adriaen van der Werff’s works up to c. 1680
to help clarify the problem of distinguishing his earlier works
from those of his teacher.
Schravemaker catalogues a surviving oeuvre of 150 paintings (with copies) by Van der Neer, arguing that many more
works have been lost or are now known only from documents
that he presents, along with a catalogue of mistaken attributions. Leafing through the reproductions, which include fifty
welcome color plates, the reader is struck by frequent variations in the effect and quality of works that not only display
diverse and frequent borrowings of subjects, compositional
types and ways of painting, but are also executed with varying
degrees of care and assurance. Yet a woodenly painted example
can be followed by one of impressive originality and delicacy
of touch, such as the stunning Gyges with the Wife of Kandaules in
Düsseldorf which frames the voluptuous rear view of a female
nude with the serene geometry of a De Hooch-like palace
interior.
A virtue of this book, in addition to its extensive research,
is that it does not try to make inflated claims for its subject, as
authors of monographs can be prone to do. Schavemaker rates
Van der Neer an artist whose “ambition was greater than his
talent” and who sought to disguise technical shortcomings,
particularly in the representation of figures, by skillful borrowings from other artists then in fashion. Yet, the author also
gives full marks to Van der Neer’s achievements, including a
surprising group of long-ignored late landscapes which often
reach an impressive level of refinement that attracted the most
discerning collectors of his day.
Susan Donahue Kuretsky
Vassar College
New Titles
Aalst, Loek van, Noord-Nederlandse meubelen van renaissance
tot vroege barok 1550-1670. Ed. by Annigje Hofstede. Houten:
Hes & De Graaf Publishers, 2010. ISBN 978-90-6194-350-1, euro
99.50
Aemulatio. Imitation, Emulation and Invention in Netherlandish Art from 1500 to 1800. Essays in Honour of Eric Jan Sluijter. Ed.
by Anton W.A. Boschloo et al. Zwolle: Waanders Publishers,
2011. ISBN 978-90-400-7801-9, euro 70.
Ammerer, Gerhard et al. (eds.), Höfe und Residenzen
geistlicher Fürsten. Strukturen, Regionen und Salzburgs Beispiel in
Mittelalter und Neuzeit (Residenzenforschung, 24). Ostfildern: Jan
Thorbecke Verlag, 2010.
Art and Science in the Early Modern Netherlands. Ed. by Eric
Jorink and Bart Ramakers. Nederlands Kunsthistorisch Jaarboek,
61, 2011. Zwolle: Waanders, 2011. ISBN 978-90-400-78-8-8, euro
105.
Atkins, Christopher, Frans Hals’s Signature Style. Painting,
Subjectivity, and the Market in Early Modernity (Amsterdam Studies
in Golden Age). Amsterdam: Amsterdam University Press, winter 2012. ISBN 978-90-8964-335-3, euro 45. To be reviewed.
Bacigalupo, Italo, Der Lindenhardter Altar. Grünewald oder
Hans von Kulmbach? Petersberg: Michael Imhof Verlag, 2011.
ISBN 978-3-86568-664-0, euro 40.
Le baroque dévoilé/ Barok onthuld. Nouveau regard sur la
sculpture à Bruxelles et en Belgique. Brussels: Editions Racine,
2011. ISBN 978-2-87386-741-6, euro 25 – Exhibition City Hall,
Brussels, June 8 – September 25, 2011.
Barrett, Kerry, Pieter Soutman. Life and Oeuvre (OCULI:
Studies in the Arts of the Low Countries). Amsterdam: John Benjamins B.V., winter 2012. ISBN 978-90-272-4964-7, euro 340. To
be reviewed.
Bleumink, H., and J. Neefjes, Het Loo Royal Estate. Utrecht:
Stichting Matrijs, 2011. ISBN 978-90-5345-431-2, euro 40.
Blick, Sarah and Laura Gelfand (eds.), Push Me, Pull Me, I:
Imaginative and Emotional Interactions in Late Medieval and Renaissance Art; II: Physical, and Spatial Interactions in Late Medieval and
Renaissance Art (Studies in Medieval and Reformation Traditions,
156). 2 vols. Leiden: Brill, 2011. ISBN 078-90-0420-573-4, euro
249.
Bogner, Ralf Georg, Johann Anselm Steiger and Ulrich
Heinen (eds.), Leichabdankung und Trauerarbeit. Zur Bewältigung
von Tod und Vergänglichkeit im Zeitalter des Barock. Akten der
Tagung in der Johannes a Lasco-Bibliothek Emden, 23. – 25. 8. 2007.
Amsterdam 2009.
Includes Ulrich Heinen, “Stoisch trauern. Bewältigungsstrategien bei Peter Paul Rubens.“
Brilliant, Virginia, Triumph and Taste: Peter Paul Rubens at
the Ringling Museum of Art. London/New York: Scala, 2011.
ISBN 978-1-85759-712-7, $20.
Brinkmann, Inga, Grabdenkmäler, Grablegen und Begräbniswesen des lutherischen Adels. Adelige Funeralrepräsentation im
Spannungsfeld von Kontinuität und Wandel im 16. und beginnenden 17. Jahrhundert (Kunstwissenschaftliche Studien, 163). Berlin:
Deutscher Kunstverlag, 2010. ISBN 978-3-42206-918-3, euro 58.
Broomhall, Susan, and Jennifer Spinks, Early Modern
Women in the Low Countries. Feminizing Sources and Interpretations of the Past (Women and Gender in the Early Modern World).
Farnham, Surrey/Burlington, VT: Ashgate, 2011. ISBN 978-075466-742-1. To be reviewed.
Bruin, Alexander de, Een groots gebaar. De schenkingen van
het Elisabeth van Thüringenfonds. Haarlem: Frans Hals Museum,
2011. ISBN 978-94-90198-08-4, euro 25. – Donation of important
masters, such as Frans Hals, Johannes Verspronck, Cornelis van
Haarlem and Maerten van Heemskerck to the city of Haarlem
by the regents of the Elisabeth van Thüringenfonds.
Buijs, Joke, Een belvedère aan de Schelde. Paviljoen De Notelar in Hingene (1792-1797) (Relicta Monografieën, 5). Brussels:
Vlaams Instituut voor het Onroerend Erfgoed, 2011. ISBN 97890-75230-30-7, euro 99.
Büttner, Nils, and Esther Meier (eds.), Grenzüberschreitungen. Deutsch-niederländischer Kunst- und Künstleraustausch im 17.
Jahrhundert. Marburg: Jonas Verlag, 2011. ISBN 978-3-89445-4500.
Contents: Hessel Miedema, Karel van Manders Blick auf
deutsche Maler; Thomas Fusenig, Künstlerische Beziehungen
zwischen den Niederlanden und dem Nordwesten des Hl.
Römischen Reiches im späten 16. und im 17. Jahrhundert; Kurt
Wettengl, Die “kreative Klasse“ – Wirtschaft und Kunst in
Frankfurt am Main um 1600; Franziska Siedler, Die Rezeption
von kooperativen Arbeitsweisen niederländischer Künstler in
Frankfurt am Main seit dem späten 16. Jahrhundert; Gerrit Walczak, Exulanten, Wandergesellen und Bönhasen: Zur Migration
von Künstlern zwischen Hamburg und den Niederlanden;
Timo Trümper, Jacob Weyer (1623-1670) und die Hamburger
Malerei im Kontext der niederländischen Kunst; Justus Lange,
Simon Peter Tilman (1601-1668) – Erfolg und Misserfolg eines
deutschen Künstlers in den Niederlanden; Norbert Middelkoop, Jürgen Ovens in Amsterdam. A Reconnaissance of the
Artist’s Dutch Years; Barbara Welzel, Das Schloss, darin sich
Schicksale kreuzen. Hendrick Goltzius und sein Federkunststück am Prager Hof Kaiser Rudolfs II.; Esther Meier, Joachim
von Sandrart zwischen Stadt und Hof; Everhard Korthals
Altes, The Biographies of Seventeenth-Century Dutch Artists in
Sandrart’s Teutsche Academie and Their Influence on Collecting
in Germany around 1700; Nils Büttner, Grenzüberschreitungen
auf einem “Nebenweg“ der Künste. Niederländische Porträts
des 17. Jahrhunderts im europäischen Kontext.
Châtelet, Albert, Hubert et Jan van Eyck. Créateurs de
l’Agneau Mystique. Quétigny: Faton Editions, 2011. ISBN 978-287844-152-9, euro 68.
Collectie Antwerpen. Portret van een stad. Wommelgem: BAI
2011. ISBN 978-90-8586-613-8, euro 24.50
Currie, C., and D. Allart, The Brueg(H)el Phenomenon. Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger.
With a Special Focus on Technique and Copying Practice (Scientia
39
Artis, 8), 3 vols. Turnhout: Brepols, winter 2011. ISBN 978-2930054-14-8, euro 160.
De Clippel, Karolien, Katharina Van Cauteren and Katlijne
Van der Stighelen (eds.), The Nude and the Norm in the Early
Modern Low Countries. Turnhout: Brepols, 2011. ISBN 978-2-50353569-2. – Proceedings of the symposium held at the Katholieke
Universiteit Leuven, December 6-7, 2007.
Contents: Eric Jan Sluijter, The Nude, the Artist and the
Model: The Case of Rembrandt; Erna Kok, The Female Nude
from Life: On Studio Practice and the Beholder’s Fantasy;
Victoria Sancho Lobis, Printed Drawing Books and the Dissemination of Ideal Male Anatomy in Northern Europe; Paul
Taylor, Colouring Nakedness in Netherlandish Art and Theory;
Hubert Meeus, Two Founts of Ivory: Nudity on Stage in the
Seventeenth-Century Low Countries; Johan Verberckmoes,
Is that Flesh for Sale? Seventeenth-Century Jests on Nudity
in the Spanish Netherlands; Ralph Dekoninck, Art Stripped
Bare by the Theologians, Even: Image of Nudity/ Nudity of
Image; Veerle De Laet, Een Naeckt Kindt, een Naeckt Vrauwkwn
ende Andere Figueren: An Analysis of Nude Representations in
the Brussels Domestic Setting; Fiona Healy, Male Nudity in
Netherlandish Painting of the Sixteenth and Early Seventeenth
Centuries; Marie Geraerts, Rubens’s Feast of Venus Reconsidered. The Turning of Hearts to or from Love. Sensuality or
Virtue?; Katharina Van Cauteren, L’Honneur Animant la Beauté:
Hendrick De Clerck’s Diana Paintings for the Archdukes Albert
and Isabella; Karolien De Clippel, Altering, Hiding and Resisting. The Rubensian Nude in the Face of Censorship.
De Kesel, Wilfried, Flemish 17th-Century Lacquers. Oostkamp: Stichting Kunstboek, 2011. ISBN 978-90-5856-373-6, euro
35.
De Laet, Veerle, Brussel binnenkamers. Kunst- en luxebezit in
het spanningsveld tussen hof en stad, 1600-1735 (Studies Stadsgeschiedenis). Amsterdam: Amsterdam University Press, 2011.
ISBN 978-90-8964-330-8, euro 38.
Del Campo San Jose, Javier, and Jose Maria Palencia
Cerezo, Erlesene Malerei: obras escogidas: coleccíon Gerstenmaier.
Burgos: Caja de Burgos, 2011. ISBN 978-84-926374-8-5, $75. –
Exhibition Caja de Burgos, March 3 – May 8, 2011.
Delmarcel, Guy, Paysage des lissiers d’Enghien. Fonds Michel
Demoortel. Quatre remarquables tapisseries d’Enghien réunies dans
la ville où elles ont été réalisées (Fonds du Patrimoine). Brussels:
Fondation Roi Baudouin, 2011. ISBN 978-2-87212-602-6, euro 20.
Delvingt, Anne, Gérard Seghers: un peintre flamand entre
Manièrisme et Caravagisme. Tourgéville: Illustria, 2011. ISBN 9782-35404-023-9, euro 23.
Denhaene, Godelieve (ed.), La gravure de la renaissance
dans les Pays-Bas méridionaux/ De Renaissance prentkunst in de
Zuidelijke Nederlanden (Archives et Bibliothèques de Belgique, 89/
Kunsthistorisch seminarie van het KIK, 9). Brussels: Archief- en
Bibliotheekwezen, 2010. Euro 35.
40
Diels, Ann, De familie Collaert (ca. 1555-1630) en de prentkunst in Antwerpen (Archives et Bibliothèques de Belgique, 88).
Brussels: Archief- en Bibliotheekwezen, 2011. Euro 55.
Domingo, José Ramos, Pedro Pablo Rubens – Matthijs Musson en la Universidad Pontificia de Salamanca. Salamanca: Universidad Pontificia, 2011. ISBN 978-84-7299-890-2, euro 29.
Ducos, Blaise, Frans Pourbus le Jeune (1569-1622). Entre
Habsbourg, Médicis et Bourbons. Quétigny: Faton Editions, 2011.
Eikema Hommes, Margriet van, Art and Allegiance in the
Dutch Golden Age. The Ambitions of a Wealthy Widow in a Painted
Room by Ferdinand Bol (1616-1680) (Amsterdam Studies in Dutch
Golden Age). Amsterdam: Amsterdam University Press, 2011.
ISBN 978-90-8964-326-1, euro 45.
Ekkart, Rudi, Dutch and Flemish Portraits 1600-1800 (Old
Masters’ Gallery Catalogues, Szépmüvészeti Múzeum, Budapest,
1). Leiden: Primavera Pers, 2011. ISBN 978-90-5997-100-4, euro
69.50
Ekkart, Rudi, Henri van de Waal. Bundel ter gelegenheid van
zijn honderdste geboortedag 3 maart 1910 / 3 maart 2010. Leiden:
van de Waal, 2010. Euro 35. – 100th anniversary of the birth of
the Leiden art historian Henri van de Waal (1910-1972).
Endlich, John, Jet Pijzel-Dommisse and Dirk Jan Biemond,
Nederlands miniatuurzilver uit de 17de en 18de eeuw. Zwolle:
Waanders, 2011. ISBN 978-90-400-7826-2, euro 25.
Faries, Molly, Catalogue of Paintings 1363-1600. Centraal
Museum Utrecht. Utrecht: Centraal Museum, 2011. ISBN 978-905983-024-0, euro 59.50
Gasser, Stephan, Katharina Simon-Muscheid and Alain
Fretz (eds.), Die Freiburger Skulptur des 16. Jahrhunderts. Petersberg: Michael Imhof Verlag, 2011. ISBN 978-3-86568-626-8, euro
98.
Geelen, Ingrid, and Delphine Steyaert, Imitation and Illusion. Applied Brocade in the Art of the Low Countries in the Fifteenth
and Sixteenth Centuries. Turnhout: Brepols, 2011. ISBN 978-2930054-11-7, euro 90.
Gendt, Judith van, Bartholomeus van der Helst (circa 16131670). Een studie naar zijn leven en werk. Zwolle: Waanders, 2011.
ISBN 978-90-400-7805-7, euro 89.50
Gliesmann, Niklas, Geschnitzte kleinformatige Retabel aus
Antwerpener, Brüsseler und Mechelener Produktion des 15. und 16.
Jahrhunderts. Herstellung, Form, Funktion (Studien zur internationalen Architektur- und Kunstgeschichte, 86). Petersberg: Michael
Imhof Verlag, 2011. ISBN 978-3-86568-521-6, euro 69.
Gottwald, Franziska, Das Tronie. Muster – Studie – Meisterwerk: Die Genese einer Gattung der Malerei vom 15. Jahrhundert
bis zu Rembrandt. Berlin/Munich: Deutscher Kunstverlag, 2011.
ISBN 978-3-42206-930-5. To be reviewed.
Dequeker, L., Het mysterie van het ’Lam Gods’. Filips de
Goede en de Rechtvaardige Rechters van Van Eyck (Annua Nuntia
Lovaniensia, 63). Leuven: Peeters, 2011. ISBN 978-90-429-2464-2,
euro 38.
Hartje-Grave (ed.), Freiheit, Macht und Pracht. Niederländische Kunst im 16. und 17. Jahrhundert. Wuppertal, 2009. – Exhibition Von der Heydt-Museum, Wuppertal, June 26 – August
23, 2009. Includes essay by Ulrich Heinen, “Loyalität. Diplomatie. Religion. Peter Paul Rubens’ Beitrag zum Überleben der
Habsburgischen Niederlande.“
Dialoge. Meisterwerke aus den Sammlungen aus Darmstadt
und Kassel. Petersberg: Imhof, 2011. ISBN 978-3-86568-682-4,
$58. – Exhibition Gemäldegalerie Alte Meister Museumslandschaft Hessen, Kassel, August 12 – October 23, 2011.
Hartog Jager, Hans den, and Pieter Steinz, Verleden in verf.
De Nederlandse geschiedenis in veertig schilderijen. Amsterdam:
Athenaeum-Polak & van Gennep, 2011. ISBN 978-90-253-68975, euro 30.
Heard, Kate, and Lucy Whitaker, The Northern Renaissance.
Dürer to Holbein. Royal Collection Publications, distributed by
the University of Chicago Press, 2011. ISBN 978-1-905686-32-2,
$60.
Henderson, Jasper, and Victor Schiferli, Rembrandt van
Rijn. Alles over het leven en werk van de meesterschilder. Amsterdam: Rijksmuseum Amsterdam, 2011. ISBN 978-90-8689-069-9,
euro 14.
Hurx, Merlijn, Architect en aannemer. De opkomst van de
bouwmarkt in de Nederlanden 1350-1530. Nijmegen: Vantilt, 2011.
ISBN 978-94-6004-079-5, euro 32.50
Janse, Geert-Jan, De Ovale Zaal van Teylers Museum. Amsterdam: Nieuw Amsterdam, 2011. ISBN 978-90-468-1085-9,
euro 20.
Jolly, Anna, Eine Höllenlandschaft von Jan Brueghel d. Ä.
(Monographien der Abegg-Stiftung, 14). Riggisberg: AbeggStiftung, 2011. ISBN 978-3-905014-44-0, CHF 25. – A hitherto
unknown Christ’s Descent into Hell published here for the first
time.
Jonckheere, Koenraad, Willem Key (1516-1568). Portrait of a
Humanist Painter (Pictura Nova, XVII). Turnhout: Brepols, 2011.
Jones, Susan Frances, Van Eyck to Gossaert. Towards a
Northern Renaissance. London: National Gallery, distributed by
Yale University Press, 2011. ISBN 978-1-85709-505-0 – Published
on the occasion of the exhibition Jan Gossaert’s Renaissance, National Gallery, London, February 23 – May 30, 2011.
Knol, Egge, Zilver in Groningen. Groningen: Groninger
Museum, 2011. ISBN 978-90-71691-70-6, euro 45.
Kotková, Olga (ed.), Roelandt Savery. Malir ve sluzbách cisare
Rudolfa II/ Roelandt Savery. A Painter in the Service of Rudolf II.
With essays by Olga Kotková, Isabelle De Jaegere, Filippe De
Potter, Joaneath Spicer and Stefan Bartilla. Prague: Národní
Galerie v Praze, 2010. ISBN 978-80-7035-460-5, euro 55. – Exhibition, National Gallery, Prague, December 8, 2010 – March
20, 2011; Broelmuseum, Kortriik, April 21 – September 11, 2011.
Previously listed without catalogue information.
Kowalski, Christine, Die Augsburger Prunkkabinette mit Uhr
von Heinrich Eichler d. Ä. (1637-1719) und seiner Werkstatt. Berlin:
Deutscher Verlag für Kunstwissenschaft, 2011. ISBN 978-387157-232-6, euro 70.
Krabbe, Coert Peter, and Hille Smit, The Mayor’s Residence,
Herengracht 502 in Amsterdam. Bussum: Uitgeverij Thoth, 2011.
ISBN 978-90-6868-547-3, euro 24.50
Kräftner, Johann (ed.), Der Mailänder Kabinettschrank. Ein
Augsburger Prunkmöbel des Manierismus. Vienna: Liechtenstein
Museum, 2010. ISBN 978-3-9502380-7-5.
Kräftner, Johann (ed.), Brueghel, Rubens, Jordaens. Meisterwerke europäischer Malerei der Hohenbuchau Collection. Vienna:
Cedon MuseumShops GmbH, 2011. ISBN 978-3-9502380-8-2,
euro 29. – Exhibition Liechtenstein Museum, Vienna, May 27 –
September 20, 2011.
Kreuger, Frederik H., Han van Meegeren Revisited. His Art &
List of Works. Rijswijk: Quantes Logistiek, 2011. ISBN 978-905959-060-1, euro 25.
Kroesen, Justin E.A., Seitenaltäre in mittelalterlichen Kirchen.
Standort, Raum, Liturgie. Regensburg: Schnell + Steiner, 2010.
ISBN 978-3-7954-2172-4.
Lammertse, Friso, Nadja Garthoff and Arie Wallert, De
Vermeers van Van Meegeren. Kennerschap en de techniek van het
vervalsen. Rotterdam: Museum Boijmans Van Beuningen, 2011.
Mandrella, David, Jacob van Loo: 1614-1670. Paris: Arthena
Editions, 2011. ISBN 978-2-903239-44-2, euro 86.
Melion, Walter S., Ralph Dekoninck and Agnès Guiderdoni-Bruslé (eds.), Ut pictura meditatio. The Meditative Image
in Northern Art, 1500-1700 (Proteus, vol. 4). Turnhout: Brepols,
2011. ISBN 978-2-503-53583-8, euro 125.
Messling, Guido, and Georg Josef Dietz, Handzeichnungen. Die deutschen und schweizerischen Meister der Spätgotik und
der Renaissance. Anhaltische Gemäldegalerie Dessau (Kritischer
Bestandskatalog, 4, ed. by Norbert Michels). Petersberg: Michael
Imhof Verlag, 2011. ISBN 978-3-86568-695-4, euro 50. – Exhibition Orangerie beim Schloss Georgium, Dessau-Roßlau, July
3 – August 21, 2011.
Meuwissen, Daantje, Gekoesterde traditie. De portretreeks
met de landcommandeurs van de Utrechtse Balije van Ridderlijke
Duitsche Orde (Bijdragen tot de Geschiedenis van de Ridderlijke
Duitse Orde, 4). Hilversum: Uitgeverij Verloren, 2011. ISBN 97890-8704-236-3, euro 49.
Meyere, J. de, Het grafmonument van Reinoud III van Brederode in de Grote Kerk te Vianen. Utrecht: Stichting Matrijs, 2010.
ISBN 978-90-5345-412-1, euro 30.
Miedema, Hessel, Liesbeth Abraham and Herman van
Putten, Jan Nagel. Een 16e-eeuwse meesterschilder. Haarlem: Frans
Hals Museum, 2011. ISBN 978-94-90198-07-7, euro 25. – Exhibition Frans Hals Museum, April 22 – October 30, 2011.
Müller, Jürgen, and Thomas Schauerte (eds.), Die gottlosen Maler von Nürnberg. Konvention und Subversion in der
Druckgraphik der Beham-Brüder. Berlin: Gebr. Mann, 2011. ISBN
978-3-942810-01-2, euro 36. – Exhibition Albrecht-Dürer-Haus,
Nuremberg, until July 3, 2011.
Noll, Thomas, and Carsten-Peter Warncke (eds.), Kunst
und Frömmigkeit in Göttingen. Die Altarbilder des späten Mittelalters. Berlin/Munich: Deutscher Kunstverlag, 2011. ISBN 978-3422-07089-9, euro 40.
Original, Kopie, Zitat. Kunstwerke des Mittelalters und der
Frühen Neuzeit. Wege der Aneignung – Formen der Überlieferung.
Ed. By Wolfgang Augustyn and Ulrich Söding. Passau: Dietmar
Klinger Verlag, 2010. ISBN 978-3-86328-101-4.
Pawlak, Anna, Trilogie der Gottessuche. Pieter Bruegels d.Ä.
Sturz der gefallenen Engel, Triumph des Todes und Dulle Griet.
Berlin: Gebr. Mann, 2011. ISBN 978-3-7861-2653-9, euro 60.70
Richter, Jan Friedrich, Hans Brüggemann. Mit einem
vollständigen Werkkatalog. Berlin: Deutscher Verlag für Kunstwissenschaft, 2011. ISBN 978-3-87157-234-0, euro 79.
Ruyven-Zeman, Zsuzsanne van, Stained Glass in the Netherlands before 1795. Part 1: The North; Part 2: The South (Corpus
Vitrearum The Netherlands, IV). Amsterdam: Koninklijke Nederlandse, 2011. ISBN 978-90-6984-518-0, euro 185.
Sauerländer, Willibald, Der katholische Rubens. Munich:
Beck, 2011. ISBN 978-3-40662-362-2, $72.50. To be reviewed.
Scharloo, Marjan (ed.), Teylers Museum. A Journey in Time.
Haarlem: Teylers Museum, 2011. ISBN 978-90-71835-23-0, euro
30.
41
Schatborn, Peter, Rembrandt and His Circle: Drawings in the
Frits Lugt Collection. Bussum: Thot; Paris: Fondation Custodia,
2010. 2 vols., ISBN 978-90-6868-522-0, $137.50
Schwartz, Leslie (ed.), Rembrandt & Lucas van Leyden. Amsterdam: Museum Het Rembrandthuis, 2011. Euro 12. – Exhibition Rembrandthuis, Amsterdam, March 19 – June 19, 2011.
Previously listed without catalogue information.
Seifert, Christian Tico, Pieter Lastman (1583-1633). Studien
zu Leben und Werk. Petersberg: Michael Imhof Verlag, 2011.
Sellink, Manfred et al., Vorstelijk verzameld. Meesterwerken
uit de collectie van het Kunsthistorisch Museum in Wenen, van Jan
van Eyck tot Pieter Bruegel de Oude. Tielt: Lannoo N.V., 2011.
ISBN 978-90-209-4640-6, euro 40.
Silver, Larry, Pieter Bruegel. New York: Abbeville Press,
2011. ISBN 978-0-7892-1104-0, $150. French edition, Paris: Citadelles & Mazenod Editions, ISBN 978-2-85088-118-3, euro 184.
To be reviewed.
Simon, Achim, Österreichische Tafelmalerei der Spätgotik. Der
niederländische Einfluss im 15. Jahrhundert. Berlin: Reimer, ’Sonderausgabe’ 2011. ISBN 978-3-496-01256-6, euro 30.80 (paper).
Slive, Seymour, Jacob van Ruisdael. Windmills and Water
Mills. Los Angeles: J. Paul Getty Museum, 2011. ISBN 978-160606-055-1.
Spaans, Joke, Graphic Satire and Religious Change. The Dutch
Republic 1676-1707 (Brill’s Series in Church History, 53). Leiden:
Koninkilijke Brill NV, 2011. 978-90-04-20669-4, euro 99.
Tacke, Andreas, and Stefan Heinz (eds.) in collaboration
with Ingrid-Sibylle Hoffmann and Christof Metzger, Menschenbilder. Beiträge zur Altdeutschen Kunst. Petersberg: Michael Imhof
Verlag, 2011. ISBN 978-3-86568-622-0, euro 50.
Theunissen, Christel, and Paul Maas (eds.), De koorbanken
van Oirschot en Aarschot. Gezien door de ogen van Hans Sibbelee en
Jan Verspaandonk. Nijmegen: Vantilt, 2011. ISBN 978-94-6004085-6, euro 25. – The early 16th-century choir stalls in the SintPetruskerk in Oirschot executed by Jan Borchmans of Eindhoven, destroyed in 1944.
Los triunfos de Aracne: Tapices flamencos de los Austrias en
el Renacimiento. Actas del IX Seminario internacional de Historia,
Madrid, December 10-12, 2008; Ghent, February 4-6, 2009. Ed.
By Fernando Checa Cremades and Bernardo J. Garcia Garcia.
Madrid: Fundación Carlos de Amberes, 2011. ISBN 978-8487369-68-1, euro 40.
Tummers, Anna, Eye of the Connoisseur. Authenticating the
Paintings by Rembrandt and His Contemporaries (Amsterdam Studies in Golden Age). Amsterdam: Amsterdam University Press,
2011. ISBN 978-90-8964-321-6, euro 49.50. To be reviewed.
Van der Stighelen, Katlijne, Hannelore Magnus and Bert
Watteeuw (eds.), Pokerfaced. Flemish and Dutch Baroque Faces
Unveiled. Turnhout: Brepols, 2010. ISBN 978-2-503-52564-8. –
Proceedings of the symposium held at the Katholieke Universiteit Leuven, December 7-8, 2006.
Contents: Jacques Bos, Between Physiognomy and Pathognomy: Theoretical Perspectives on the Representation of
Characters and Emotions in the Seventeenth Century; Ulrich
Heinen, Stoisch Sterben lernen. Rubens’ Memorialbild auf
Justus Lipsius und Philip Rubens; Bert Watteeuw, Een neus
voor kunst. De Antwerpse liefhebber Jacomo de Cachiopin
42
(1591/92-1659) en zijn collectie; Jan Dequeker, A Physician’s
View Beyond the Curtains of Seventeenth-Century Flemish and
Dutch Baroque Portraits; Rudie van Leeuwen, The portrait historié in Religious Context and Its Condemnation; Daantje Meuwissen, ’According to old custom’. The Seventeenth-Century
Portrait Series Depicting the Land Commanders of the Teutonic Order of Knights, Utrecht Bailiwick; Karolien De Clippel,
Naked or Not? Some Thoughts on Nudity and Portraiture in
Seventeenth-Century Painting; Rudi Ekkart, De herontdekking
van het portret van de familie Van Mierevelt; Bert Timmermans, (Family)Portraits in the Construction of a Visual Family
Tree and a Social Identity. Anticipating the Aspirations of Elite
Clientele in Seventeenth-Century Antwerp; Ann Jensen Adams,
The Performative portrait historié; Jeffrey Muller, The Importance of Place in Pieter Thys’s Group Portrait of the Wardens
of the Holy Sacrament Chapel in St. Jacob’s Church, Antwerp;
Zirka Z. Filipczak, Portraits of Women who ’do not keep strictly
to the Masculine and Feminine Genders, as they call them’;
Katlijne Van der Stighelen, ’Amoris et doloris monumentum’.
Portraits and How They Were Perceived in the Baroque Age.
Vandekerchove, V., and P. Carpreau (eds.), Pieter-Jozef
Verhaeghen (1728-1811). In het spoor van Rubens. Leuven: Peeters,
2011. ISBN 978-90-429-2527-4, euro 39. – Exhibition Museum
M, Leuven, April 1 – August 1, 2011. Previously listed without
catalogue information.
Vels Heijn, Annemarie, and Diane Visser (eds.), Hendrik,
graaf van den Berg (1573-1638). Van Spanje naar Oranje. ’s-Heerenbergh: Stichting Huis Bergh, 2010. ISBN 978-90-803638-6-1,
euro 20.
Vervoort, Renilde, Vrouwen op den besem en derghelijck
ghespoock. Hekserijvoorstellingen in de Nederlanden tussen 1450 en
1700 en de invloed van Pieter Bruegels Jacobus en Hermogenes prenten (Nijmeegse Kunsthistorische Studies, XIX). Nijmegen: Stichting
Nijmeegse, 2011. ISBN 978-94-912-2602-1, euro 40.
Vries, Lyckle de, How to Create Beauty. De Lairesse on the
Theory and Practice of Making Art. Leiden: Primavera Pers, 2011.
ISBN 978-90-5997-102-8, euro 34.50. To be reviewed.
Waiboer, Adriaan, Gabriel Metsu: Life and Work. Catalogue
raisonné. New Haven/London: Yale University Press, 2011.
ISBN 978-0-3001-7048-1, $50. See also the review of the Dublin,
Amsterdam, Washington exhibition catalogue in this Newsletter.
Wetter, Evelin, Zwei spätmittelalterliche Betnüsse aus den
südlichen Niederlanden (Monographien der Abegg-Stiftung, 15).
Riggisberg: Abegg-Stiftung, 2011. ISBN 978-3-905014-46-4, CHF
25.
Wood, Jeremy, Rubens. Copies and Adaptations from Renaissance and Later Artists: Italian Artists, III. Artists Working in Central Italy and France (Corpus Rubenianum Ludwig Burchard, Part
XXVI [3]). 2 vols. London: Harvey Miller Publishers (an imprint
of Brepols Publishers, Turnhout), 2011. ISBN 978-1-905375-41-7.
To be reviewed.
Wouk, Edward H., Frans Floris. 2 vols. (The New Hollstein
Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700).
Ouderkerk a/d IJssel: Sound & Vision Interactive, 2011. Euro
880.
Dissertations
zelfbeeld tussen canon en propaganda. Leuven, Prof. Van der
Stighelen
United States
Bass, Caitlin, Home Behind the Wall: The Living Spaces of
Late Medieval German Convents. Brown, S. Bonde
Bass, Marisa Anne, The Venus of Zeeland: Jan Gossart and
the Revival of Antiquity in the Netherlands. Harvard, Hugo
van der Velden
England
Kern, Ulrike, Light and Shadow in Netherlandish Art,
1600-1725. Theory and Practice. Warburg Institute, London.
Kleinert, Corina, Rubens’s Landscapes. Oxford, Profs.
Brown, McGrath and Johnson
Hand, Joni, Female Book Owners in the Valois Courts,
1350-1550: Devotional Manuscripts as Vehicles for Self-Definition. CUNY, B. Lane
Israel
Keating, Jessica, The Machinations of German Court Culture: Early Modern Automata. Northwestern, C. Swan
Bachar, Orli, Biblical Couples in the Art of the Low Countries, 16th-17th Century. Tel Aviv, Prof. Pinson
Kim, Sohee, Jacques le Moyne de Morgues (ca.1533-1588)
and the Origins of the Early Netherlandish Flower Still Lifes.
Maryland, College Park, A. Wheelock
Bartal, Renana, Visions in the Vernacular. Three Illuminated Manuscripts of the Apocalypse from the 14th Century and
the Artist Who Illuminated Them. Jerusalem, Profs. Kühnel and
Lowden (Courtauld Institute)
Kotani, Noriko, Studies in Jesuit Art in Japan. Princeton, T.
DaCosta Kaufmann
Lobis, Victoria Sancho, Artistic Training and Print Culture
in the Time of Rubens. Columbia, D. Freedberg and D. Rosand
McIntosh, Laurentia, Maria van Oosterwyck. Wisconsin,
Madison, J. Hutchison
Moran, Sarah Joan, Unconventional Women: Politics,
Religion, and Image in the Court Beguinages, ca.1585-ca.1713.
Brown, J. Muller
Maory-Krah, Michal, The Many Sides of Lucretia. Roman
Heroine, Rape Victim, Model of Virtue, Sinner and Provocateur.
Tel Aviv, Prof. Pinson
Rinot, Liad, Secular Images in the Backgrounds of Paintings by Robert Campin and His Followers. Tel Aviv, Prof.
Pinson
The Netherlands
Pritchard, Shannon, Giambologna’s Bronze Pictures: The
Narrative Reliefs for Ferdinando I de’Medici and the PostTridentine Paragone. Georgia, S. Zuraw
Abrahamse, J.E., De grote uitleg van Amsterdam. Stadsontwikkeling in de zeventiende eeuw. University of Amsterdam, Prof. Sluijter
Streule, Wendy, Objects of Desire: Case Studies in the
Production and Consumption of Erotic Images in the Dutch
Golden Age. Rutgers, C. Puglisi
Asperen, H. van, Pelgrimstekens op perkament. Originele
en nageschilderde bedevaartssouveniers in religieuze boeken
(ca. 1450-ca. 1530). Nijmegen, Prof. Koldeweij
Webb, Karen, Medieval Manuscripts, Architectural Structures, and Their Relationships. Pittsburgh, M.A. Stones
Gent, Judith van, Barhtolomeus van der Helst (1613-1670).
University of Utrecht, 2011.
Wouk, Edward, Raffaello fiammingo: The Graphic Work of
Frans Floris de Vriendt (1519/20-1570). Harvard, H. Zerner and
J. Koerner
Hülsmann, H.M., Tronies, baardmannen en hondenkoppen. Noord-Hollandse boekdecoratie uit de derde-orde-conventen aangesloten bij het Kapittel van Utrecht (ca. 1434-80).
Vrije Universiteit Amsterdam, Prof. Veldman
Austria
Ilsink, K.M., Bosch en Bruegel als Bosch. Kunst over kunst
bij Pieter Bruegel (c. 1528-69) en Jheronimus Bosch (c. 14501516). Nijmegen, Profs. Koldeweij and Van der Stock. (The
published version – Stichting Nijmeegse Kunsthistorische Studies
– is reviewed in this journal, April 2011.)
Kranawendther, Robert, Die Görzer Bauhütte zu Lienz,
ihre Zunftordnung aus 1476, ihre Meister, ihre Stilmerkmale,
ihr Einfluss auf die Sakralbauten im späten 15. und beginnenden 16. Jahrhundert. Salzburg, Prof. Brucher
Lechner, Georg Matthias, Der Barockmaler Franz Carl
Remp (1675-1718). Vienna, Prof. Dachs-Nickel
Belgium
De Maere, Jan, Neurosciences et Connoisseurship. La physiologie neuronale du Beau et l’attribution des tableaux anciens.
University of Ghent, Prof. Maximiliaan Martens
Falque, Ingrid, Portrait de dévots, pratiques religieuses et
expériences spirituelle dans la peinture des anciens Pays-Bas
(1400-1550). Liège, Prof. Allart
Van Cauteren, Katharina, Le printemps au milieu de
l’hyver. Hendrick De Clerck (1560-1630) en het aartshertogelijke
Laurentius, F., Clement de Jonghe, kunstverkoper in de
Gouden Eeuw. Een biografie van Clement de Jonghe (ca. 162477) en een analyse van zijn bedrijf aan de hand archiefmateriaal, prenten, druktechnische aspecten en papier onderzoek.
Utrecht, Prof. Meijer
Schavemaker, E., Eglon Hendrik van der Neer (1635/361703). Zijn leven en werk. Utrecht, Prof. Hecht (the book based
on the dissertation is reviewed in this issue).
Vervoort, Renilde, “Vrouwen op den besem en derghelijck
ghespoock.“ Hekserijvoorstellingen in de Nederlanden tussen
1450 en 1700. Radboud University, Nijmegen, Prof. Koldeweij
Vreeken, Hubert, ’Bij wijze van museum.’ Oorsprong,
geschiedenis en toekomst van Museum Willet-Holthuysen,
1853-2010. University of Amsterdam, 2010.
43
Zuidema, L., Verbeelding en ontbeelding. Leiden, Profs.
Falkenburg and Blockmans
Switzerland
Böckem, Beate, Inszenierung einer Persönlichkeit. Jacopo
de’ Barbari und der Kulturtransfer in der Frühen Neuzeit.
Basel, Prof. Schellewald
Büchi, Tobias, Die Fortifikationsliteratur des 16. und 17.
Jahrhunderts. Traktate deutscher Sprache im internationalen
Kontext. Zurich, ETH, Prof. Oechslin
44
Georgi, Katharina Elisabeth, Einem fränkischen Buchmaler auf der Spur. Gebetbuchillustrationen im Umkreis der
Pleydenwurff-Wolgemut Werkstatt. University of Zurich, Prof.
Kurmann-Schwarz
Köhl, Sascha, Von der Ratsstube zum Stadhuis. Das
Brüsseler Rathaus und die Anfänge einer repräsentativen
politischen Architektur in Brabant, den Niederlanden und
Westeuropa. Zurich, ETH, Prof. Tönnesmann
Endowment Fund
Initial Challenge Grant of $5,000.00 given by James
Marrow
Jan Six Society ($1 to $49)
Marcia Allentuck in memory of Charles Mitchell
Kathy Berkowitz
Gregory Clark
Melanie Gifford
Jeffrey Hamburger
L.B.L. Harwood
Julie Berger Hochstrasser
Robinson Kurtin Communications, Inc.
Nancy Minty
Anne M. Morganstern
Elizabeth Sutton
Diane Wolfthal
Yonna Yapou-Kromholz
John the Magnanimous Society ($50 to $99)
Anonymous gift in memory of Dana Goodgal-Salem
Al Acres
Eva J. Allen in memory of Dr. Mary Ann Scott
Donna R. Barnes
Celeste Brusati
Alice I. Davies
Wilson G. Duprey
Laura D. Gelfand
Lola B. Gellman
Ann Sutherland Harris
Ann Sutherland Harris in honor of Seymour Slive
Penny Howell Jolly
Susan C. Katz Karp
Susan Koslow in memory of Julius Held
Susan Koslow in honor of Colin Eisler
Susan Koslow in memory of Julius Held
Anne W. Lowenthal in memory of James O. Belden
Annaliese Mayer-Meintschel
Andrea Pearson
Leopoldine van Hogendorp Prosperetti
Leontine Radler
Mary of Burgundy Society ($100 to $249)
Anonymous gift in memory of Dana Goodgal-Salem
Anonymous gift in honor of the late Charles Mitchell
Anonymous gift in honor of Otto Naumann
Anonymous gift in honor of Irina Sokolova
Christiane Andersson in honor of Julius Held on his 91st
birthday
Gerlinde de Beer in honor of George Keyes for his
services as president of HNA
Mària van Berge-Gerbaud
Marten Jan Bok in memory of Cynthia Lawrence
H. Perry Chapman
Charles D. Cuttler
Charles D. Cuttler
Alice I. Davies
Alice I. Davies
Arlene and Arthur Elkind in honor of Egbert Haverkamp
Begemann
Fondation Custodia, Collection Frits Lugt
Ivan Gaskell in memory of Salim Kemal
Lola B. Gellman
Adele and Gordon J. Gilbert in honor of Ivan Gaskell
Amy Golahny
Jane Hutchison in memory of Jan Bialostocki
Jane Hutchison in memory of Wolfgang Stechow
Ethan M. Kavaler
Alison McNeil Kettering
Susan Koslow in honor of Julius Held
Susan Koslow in memory of Horst Gerson
Susan Koslow in appreciation of Amy Golahny and her
work
Susan Koslow in honor of Kristin Belkin
Susan Donahue Kuretsky in memory of Beatrijs
Brenninkmeyer-de Rooij
Anne-Marie Logan in honor of Kristin Belkin and all her
hard work on behalf of HNA
Anne W. Lowenthal
Constance Lowenthal in honor of Seymour Slive
Ruth Mellinkoff
Erika Michael
Sheila D. Muller
Shelley Perlove
Joaneath Spicer
Arthur K. Wheelock, Jr.
Philip the Good Society ($500 to $999)
A friend
George S. Abrams
Anne Hagopian van Buren
Anne Hagopian van Buren in memory of L. M. J.
Delaissé
Richard Green Galleries
George Keyes in memory of Carol Purtle
Constantijn Huygens Society ($500 to $999)
J. William Middendorf II
45
Admiral Maarten Harpertsz. Tromp Fund ($500 to $999)
Sotheby’s, New York
Earl of Arundel Society ($1,000 to $2,499)
David G. Carter in memory of Roger-A. d’Hulst
David G. Carter in memory of Paul Coremans
David G. Carter in memory of Jacques Lavalleye
Maine Community Foundation, at the recommendation
of Anne van Buren
James Marrow in memory of Anne Hagopian van Buren
Joann and James Nordlie
The Samuel H. Kress Foundation
Pottekijker Society ($2,500 to $4,999)
Jack Kilgore
HNA Presidents’ Society ($1,000 and above)
The Estate of Charles Cuttler
46
George Keyes in memory of Jan Gerrit van Gelder
George Keyes in memory of Hans Mielke
Belinda Patterson in honor of Carl Purtle
Carol J. Purtle in memory of Norris Kelly Smith
John Michael Montias Fund
Marten Jan Bok
David Carter
Perry Chapman
Pamela Decoteau
Larry Goedde
Amy Golahny
Emilie Gordenker
Julie Hochstrasser
Alison Kettering
Eric Jan Sluijter
Arthur Wheelock, Jr.
Jean Wilson
Supporting Members
Benefactors
Celeste Brusati
H. Perry Chapman
Jan De Maere
Hester Diamond
Adele and Gordon J. Gilbert
Lawrence Goedde
George Gordon
Thomas Leysen
James H. Marrow
J. William Middendorf II
Christoph Müller
Joaneath Spicer
Dominique Surh
Arthur Wheelock
Patrons
Al Acres
Maryan Ainsworth
Annet Ardesch
Susan Barnes
Shirley K. Bennett
Nancy Bialler
Bert Biemans
Till-Holger Borchert
Joaquin Bordiu
Peter van den Brink
David Giles Carter
Michel Ceuterick
Joop van Coevorden
Anne Connor
Alice I. Davies
Laurel Dial
Burton Dunbar
Arthur H. Elkind
Michael Enthoven
Lola B. Gellman
Stefan Grohé
Barbara Haeger
John Oliver Hand
Valerie Hedquist
Frima Fox Hofrichter
Jane Hutchison
Ethan Matt Kavaler
Alison Kettering
George Keyes
Jack Kilgore
David Koetser
Susan Koslow
Susan Donahue Kuretsky
Sondra Kurtin Robinson
Walter Liedtke
Julia Lloyd Williams
Anne-Marie Logan
Anne Lowenthal
Henry Luttikhuizen
William Manhart
Annaliese Mayer-Meintschel
Erika Michael
Sheila Muller
Justus Müller Hofstede
Otto Naumann
Nadine Orenstein
Herman A. Pabbruwe
Eva de la Fuente Pedersen
Yona Pinson
Leopoldine Prosperetti
Leontine V.L. Radler
Tom Rassieur
William Robinson
Stephanie Schrader
Diane Scillia
Ron Spronk
Johnny Van Haeften
Hans J. Van Miegroet
Matthew Weatherbie
Dennis Weller
Yao-Fen You
Supporting Members
Ingrid Alexander-Skipnes
Bas Anepool
Nancy Bialler
Albert Châtelet
Alan Chong
Gregory Clark
Paul Crenshaw
Joseph B. Dallett
Ricardo De Mambro Santos
Robert Dorfman
Wilson G. Duprey
Dan Ewing
Frank Faes
Zirka Zaremba Filipczak
Jane B. Friedman
Walter Gibson
Amy Golahny
Christine Göttler
Meredith Hale
Laurie Harwood
Lars Hendrikman
Frauke Laarmann
Barbara Lane
David Levine
Dorothy Limouze
Walter Melion
Peter Parshall
Martha Peacock
Ann Roberts
Gregory Rubinstein
Larry Silver
Nicolette Sluijter-Seiffert
Claudia Swan
Melinda Vander Ploeg Fallon
Diana Withee
Anne Woollett
Elizabeth Wyckoff
Institutions and
Businesses
Marina Aarts, Amsterdam
Alexander Gallery, New York
University of Amsterdam,
Library
Brill Publishers (Herman
Pabbruwe)
Brown University,
Rockefeller Library
Bruce Museum, Greenwich
(Peter Sutton)
Centrum voor de Vlaamse
Kunst van de 16de en
17de eeuw, Antwerp
The Cleveland Museum of
Art, Ingalls Library
Erasmus B.V.
The Frick Art Reference
Library
Germanisches
Nationalmuseum,
Bibliothek
The Getty Research Institute,
Serials Section
Universitätsbibliothek
Heidelberg
Institut Royal du Patrimoine
Artistique/Koninklijk
Instituut voor het
Kunstpatrimonium,
Brussels
Institute of Fine Arts, Library,
New York University
Koninklijke Musea voor
Schone Kunsten van Belgi/
Musées Roaux des BeauxArts de Belgique
Kunstmuseum Basel,
Bibliothek
The Metropolitan Museum
of Art, Thomas J. Watson
Library
Princeton University Libraries
Rijksuniversiteit Utrecht,
Letterenbibliotheek
Stedelijke Musea, Brugge
Szépmüvészeti Múzeum,
Budapest
Honorary Members
Charles Cuttler (died 2008)
Egbert Haverkamp Begemann
William Heckscher (died 1999)
Julius S. Held (died 2002)
J. Michael Montias (died 2005)
Eddy de Jongh
James Snyder (died 1990)
Seymour Slive
Eric Jan Sluijter
Susan Urbach
Benefactors contribute $200
per year to the Historians of
Netherlandish Art; Patrons give
$100 per year; Institutions and
Businesses give $100 per year;
Supporting Members give $75
per year.
47
historians of
netherlandish art
Historians of Netherlandish Art is an international
organization founded in 1983 to foster communication
and collaboration among historians of Northern European art from medieval to modern times. Its membership
comprises scholars, teachers, museum professionals, art
dealers, publishers, book dealers, and collectors throughout the world. The art and architecture of the Netherlands (Dutch and Flemish), and of Germany and France,
as it relates to the Netherlands, from about 1350 to 1750,
forms the core of members’ interests. Current membership comprises around 650 individuals, institutions and
businesses.
HNA organizes and sponsors a major research conference every four years. It also holds an annual meeting
in conjunction with College Art Association conferences, where members share interests and information
in debates, symposia, or lectures. HNA offers news of
exhibitions, acquisitions and other museum news, conferences, recent publications, and members’ activities, as
well as extensive book reviews on its webpage at www.
hnanews.org. Twice a year this information is also offered in hard copy. A Membership Directory is available
on HNA’s website.
HNA grew out of a national symposium on Netherlandish art held in the spring of 1982 at Memphis State
University. Its initial research conference, held at the
University of Pittsburgh in 1985, drew over two hundred
participants from seven countries. The Pittsburgh meeting set the standard for four further international conferences held in Cleveland (1989), Boston (1993), Baltimore
(1998), Antwerp (2002), and Baltimore/Washington
(2006). HNA has been an affiliated society of the College
Art Association since 1984, and was incorporated in New
York State as a not-for-profit corporation in 1988.
Membership in Historians of Netherlandish Art is
open to any individual or organization interested in the
study of Netherlandish, German and Franco-Flemish
art and architecture, whether as a vocation or avocation.
Membership privileges include participation in HNA
activities annually at College Art Association meetings
and at HNA-sponsored conferences, access to the online
Newsletter and Review of Books, the Membership Directory, and the hard copy version of the HNA Newsletter
and Review of Books.
HNA also publishes an online scholarly, peer-reviewed journal twice a year: www.jhna.org
For information contact Kristin Belkin, 23 South
Adelaide Ave, Highland Park NJ 08904; 732-937 83 94;
kbelkin@aol.com, or Fiona Healy, Seminarstrasse 7,
D-55127 Mainz, Germany; FionaHealy@aol.com
4

November 2011 - Historians of Netherlandish Art

Transcription

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